Soldiers of Fortune (2012)

Soldiers of Fortune Has Too Many Mixed Fortunes

By Kristin Battestella

I was eager to see this seemingly fun and action packed 2012 ensemble yarn, but Soldiers of Fortune is a disappointing mixed bag of what could have been.

Ex-army Captain Craig McCenzie (Christian Slater) reluctantly joins a special operations mercenary training organization funded by millionaires interested in playing soldier at the highest stakes. Metals magnate Dimidov (Sean Bean), video game developer Sin (Dominic Monaghan), banker Charles Vanderbeer (Charlie Bewley), Texas tycoon Sam Haussmann (James Cromwell), and weapons dealer Grimaud (Ving Rhames) don’t take the training seriously at first, and each has their own motives for joining in the rebellion against ex-CIA agent Carter Mason (Colm Meaney). When their play mission turns into a deadly coup d'état, the team must shape up to make it out alive.

New director Maxim Korostyshevsky and writers Alexandre Coscas, Joe Kelbley (Booking Knights) and Robert Crombie (Ink) open with international intrigue, Taliban infiltration, and bikers, but the onscreen titles telling the audience the when and where do little to explain what’s happening. Between telling Craig’s back story, showing the repeated recruitment attempts, and all the island rebellion whys, Soldiers of Fortune takes too many times to start it’s tale. The tired, down on his luck soldier premise also puts the film off on the wrong foundation, resulting in too much time being spent later on in clarifying who is who. There’s no such time to spare in a 95-minute action caper – Soldiers of Fortune should have focused on the adventure for hire sardonics as its cool with no angry military whip them into shape off kilter. This is supposed to be an action film, not a war allegory, and I don’t really care about Craig’s history in comparison to the irony of millionaires playing soldier who end up really saving the day and writing it off as charity. This could have been a funny, unrealistic bombastic romp or dead serious and heavy in its political statements. Heck, Soldiers of Fortune could have even stayed middle of the road subtle irony wink even, but the picture just feels so aimless and topsy turvy.  Maybe it’s not that original either, but seeing these richy, badass, screw ups already ala Major League had to be more entertaining than Soldiers of Fortune actually turned out to be. I keep thinking of editors who say forget the prologue, open in media res, and cut your first thirty pages. The early training scenes come too easily for the quirky team, and turncoat speculations don’t seem to matter. Despite their charm and likability, the learning the ropes muddled vision and save the island rebellion mission feel like one big macguffin. This askew start and all over the place plotting certainly makes Soldiers of Fortune confusing, and unnecessary flak prevents the ensemble’s potential from blossoming.

Christian Slater is a very unusual choice for the lead here, yes. Though he is physically capable, swift, and believable with the guns and gear, some of the action is a little too preposterous, and it’s tough for one to get over the “It’s Christian Slater! Pump Up the Volume! Kuffs!” feeling. His dialogue and delivery are also uneven. Either this is a poorly written character with undeveloped emotion or Slater is too dry for the part. Craig’s reluctant drill sergeant is neither ruthless nor funny when he’s threatening to kill the next person who answers his cell phone during the obstacle course. He starts out so angry over being unjustly dishonorably discharged but ends up happily joking with the millionaires. Again, hinging Soldiers of Fortune on this flat character was wrong. Can you still have Slater in a military or action movie? Sure, but not as the faulty lead.  Likewise, Freddy Rodriguez (Ugly Betty) is all but useless as Craig’s best bud. You never feel his sidekick is going to amount to anything, and their lack of chemistry adds to the lack of believability here. I mean, Christian Slater has to whip these guys – these guys – into shape. Are you %^&#(*^ kidding me? I don’t love him or hate him and feel uber harsh, but Slater is outclassed in what is a direct to video action yarn.

Damn straight Sean Bean already knows how to fire a rifle! One expects the Game of Thrones alum to be the angry army guy – he did that, in fact, in Age of Heroes the year prior – but Bean looks great as a suave jet setter with big toys and lots of babes. Dimidov has badass history, international playboy clout, zing, and an insistence for his own room, “Helen and I will take the dining room…” Yes, I am Bean biased.  I totally admit he was my reason for seeing Soldiers of Fortune, and I’ve seriously enjoyed some of his recent, smaller independent material. However, it’s more bemusing to watch him play paintball target practice with a cigar firmly between his teeth than watch Slater try and teach anybody to play soldier. There are some sloppy hints that Dimidov is suspicious and greedy, but it’s another wasted opportunity to not let Sean Bean have a full on good time with his badass image. And let’s not forget about Ving Rhames! I’m not sure what sort of accent he was attempting, but Rhames (Pulp Fiction) is always delightfully slick – and his Grimaud seems to know more about weaponry and tactics than Captain Craig. Zigzag so you can’t be targeted so easily…you don’t say! This is actually the second time in recent memory I’ve seen this simplicity not being utilized on film, and it really makes screenwriters look like they don’t do any basic research. Grimaud’s an armory dealer with morals on both sides, but his gray is never fully developed, and again, only Rhames’ charisma saves the character. I’d believe him as an angry military drill sergeant! Reverse Rhames and Slater and Soldiers of Fortune increases tenfold.

Need more character class? Soldiers of Fortune should have given James Cromwell (L.A. Confidential) more to do as the fun and crusty cowboy Haussmann. He has his bucket list with lots to chew on, but he doesn’t seem to be onscreen enough, nor is Colm Meaney (Deep Space Nine). If he’s the military nemesis to our millionaires, you should see him in more equal screen time. His Mason is also a little too ruthless or over the top, as if it can’t be decided whether he’s a heavy, deadly villain or a lighthearted parody. Dominic Monaghan is his usual fun self, too – and the subtle broken leg humor works. The jabs on who is richer or who has a bigger gun – literally – go a long way, and Soldiers of Fortune should have used this flair instead of resorting to a convenient mishmash. The women are nondescript, and Charles Bewley (The Twilight Saga) is far too cliché as Vanderbeer – the seemingly wimpy banker using this excursion just to prove his street cred. If his quirks aren’t going to be highlighted, then why bother? Despite some attempted but obvious plot twists, I honestly didn’t notice when Vanderbeer wasn’t onscreen. How is the audience supposed to care when the characters themselves gain or lose their conscience or sympathies as needed? Some members of the team seem to die or feel written out as if the writers realized those players were pointless, and Soldiers of Fortune completely misses the boat in utilizing the built in fun of having Bean and Monaghan together again. What, no Lord of the Rings jokes?

Thankfully, sarcastic flashbacks, a touch of panoramic zooms, sweeping angles, and fun editing add smarts and help Soldiers of Fortune wink at the absurd. Onscreen graphics, text, satellite imagery, scope camerawork, and slow motion also add panache. Most of this is quality, but some pieces feel unnecessary or noticeably present just for the expected looking cool. Hip quips also feel misplaced amid what’s supposed to be tragic resistance scenes, and their plight feels somewhat small scale compared to the rest of the colorful action and battle scenes. The sets, locales, and outdoor adventuring do fit the bill, and the spectacle isn’t super chaotic and in your face – although there is a lot of gunfire, blood capsule pops, and old fashioned fake kills. Soldiers of Fortune is rated R, but sometimes it doesn’t feel like it should be. It’s also disappointing that this is a bare bones, featureless DVD. The menu interface advertising the titular and tax deductable adventure is fun, but it seems like the production team sold Soldiers of Fortune short. It has the people, the budget, and the action. What happened?

Miscasting and missed opportunities prevent Soldiers of Fortune from becoming the witty, stylized yarn it could be. The step-by-step clichés and confusing encounters will make your head hurt at the waste. Fans of the cast or contrived action films can have a few hours of good fun with the absurdity here, yes, but Soldiers of Fortune could have been much, much more. 

Deep Space Nine Season 6

Deep Space Nine Season 6 is Almost All Glory!

By Kristin Battestella

After getting excited over some of Deep Space Nine’s greatness to only end up disappointed over its filler and meandering ways, loyal viewers of the Star Trek spin off are finally rewarded with all this goodness!

Captain Benjamin Sisko (Avery Brooks) is in the thick of the Dominion War along with Klingons, Cardassians, and even Romulans. Commander Worf (Michael Dorn), however, is planning to marry Jadzia Dax (Terry Farrell). Doctor Julian Bashir (Alexander Sidding) uncovers the mysterious Section 31’s action during the war while Chief Miles O’Brien (Colm Meaney) also takes on missions of a duplicitous nature. Security Constable Odo (Rene Auberjonois), Bajoran Major Kira (Nana Visitor), and Ferengi bartender Quark (Armin Shimerman) must make tough choices while under Dominion occupation, and the Prophets and Pah-Wraiths of Bajor contribute to the fatal decisions.

Every season, DS9 had gems where a viewer hoped it had hit its stride. Back and forth? Again? This is it! Nope. Back peddled here, but yes. Yes. This is good! Make no mistake; the glorious six-part opening of Year 6 is perhaps the best yet. A complete balance and ensemble of action and players each having their moments across the galaxy with fractured battle tales on the Defiant, the station, and on Klingon Birds of Prey.  All the cast and recurring dynamos rise to the occasion. If there had been half as many episodes of Deep Space Nine, but each season had been a mini series arc like this, I’d utterly adore this show!   Unfortunately, I do think the use of The Prophets in “Sacrifice of Angels” to conclude the arc is a bit of damper, literally a dues ex machina cop out.  The viewer should have expected a divine intervention- why wouldn’t The Prophets do something about the war after doing so much for Bajor? However, no one bothers to suggest their help or even acknowledges they should have a role in the Dominion War. Hey, let’s go talk to our alien gods and see what they can do to help! Tossing this out so late in the game is a bit of that DS9 back peddle again. It’s the bane of this series to never quite make up its mind. Amid this hitting of Deep Space’s Nine stride- almost when the series is over!- there are still some clunkers this season. “Resurrection” puts an unnecessary not-Vedik Bareil (Philip Anglim) hitch into the Mirror Universe, and though a lovely little bottle character vignette, “The Sound of her Voice” is too lightweight for a second to last episode of a wartime season.  The finale itself “Tears of the Prophets” also feels a little formulaic and anti-climatic. It’s a bit of a weak cliffhanger after all we’ve just been through. Thankfully, “Who Mourns for Morn?” is a much more delightful reaction episode with a touch of sentimentality.

With the glory that is Avery Brooks as Benjamin Sisko this season, one has to wonder why Deep Space Nine hasn’t been doing exceptional black family history dynamics and race relations science fiction parallels all along. “Far Beyond the Stars” is an exceptional episode, perhaps thee show of the series. To have today’s sci-fi looking back on the foundings of the genre itself in speculation of everything in such a wonderful mind bending way! I want to say more, but shan’t. Likewise, “In the Pale Moonlight” is Sisko showing up to play directly to the camera and facing the point of no return. Andrew Robinson’s Garak is equally up to the challenge as the would-be devil of the episode’s titular quote. Wow. “The Magnificent Ferengi,” by contrast, is a lovely little western stand-off send-up with Armin Shimerman as Quark along with all our favorite guest stars- Jeffrey Combs, Max Grodenchik, Aron Eisenberg, Chase Masterson, Cecily Adams, and even Iggy ^$#&* Pop!  This familiar relief should have followed the heavy opening arc, and the subsequent “Waltz” one-on-one madness with our favorite vile Cardassian, Marc Alaimo as Dukat, is just excellent. Dukat has justified his villainy to the point where it is perfectly reasonable to him.  After “Sons and Daughters,” “Favor the Bold,” and “Sacrifice of Angels,” I’m sorry to see Melanie Smith depart as Ziyal, but the exit of the character and its impact on others is perfect.  And it’s so nice to see Jake again in “Valiant.” It’s a fine chance for Cirroc Lofton to get in on the wartime action and ask critical questions about youth in battle. Perhaps it is a one-off show, but it ties into The Dominion plots and doesn’t provide any easy answers.

Strangely, Colm Meaney and his Chief O’Brien become a bit diminished in the slow undercover “Honor Among Thieves.” It’s a nice debate about subterfuge and sadness, but some of these quiet episodes just get lost amid the heavy glory. “Time’s Orphan” could have been a nice O’Brien family pain show, but it all ends up too easily resolved. Thankfully, “One Little Ship,” is a cute little show.  It’s dangerous and perilous, but a charming, vintage SF concept with a Trek spin. “My Way” is also a swinging good way to get Nana Visitor’s Major Kira and Rene Auberjonois as Odo together thanks to the lovely James Darren as the hip and wise Vic Fontaine hologram. Sure, some fans aren’t going to like the period style or the relationship, but it’s not as weird as the hokey Pah-Wraith effects and irritatingly perfect Louise Fletcher as that pesky Kai Winn in “The Reckoning.”  All our favorite Ferengi do more in “Profit and Lace” with a fun look at women’s rights and gender issues in Ferengi society. It isn’t too farcical or heavy-handed but makes a good little statement and science fiction amalgam. And who knew we’d finally see something of Julian Bashir in “Inquisition.”  Is this the first time we see his quarters? You can’t really know someone when we haven’t gone home with him. Unfortunately, I’m not entirely pleased about the advent of the shadowy Section 31. One may not prefer Vic Fontaine’s tunes or like Kira and Odo as a couple, but the creation of Section 31 is another deal breaker that will have viewers throw their arms in the air. One wouldn’t need to create the subterfuge and undermining of all the Starfleet that we know and love if you consistently create solid characters dealing with dilemmas within themselves as in “In the Pale Moonlight.” I’m surprised they continued to use the Section 31 angles over the much more refined Benny elements from “Far Beyond the Stars”- but there’s more of that in the seventh and final season.

Likewise, the ball is still dropped regarding Michael Dorn’s relocated Worf and his new wife, the departing Terry Farrell as Jadzia Dax.  “You Are Cordially Invited” is Klingon fun, but the treatment of Marc Worden as Alexander is iffy. I don’t know why the writers felt the need to essentially write out familial relationships for Worf and O’Brien- even Jake and Sisko are reduced along with Penny Johnson as Kasidy Yates family-wise.  Of course, Jadzia is also still a waste, complaining that she actually has some sort of cryptic deciphering Science Officer stuff to do right up to the end. Why create the Worf as parent possibility when you are writing out his son on top of Jadzia’s imminent departure? The baby bonding with Worf is laid on too bittersweet. You can’t appreciate the dearly departed sentiment on the first viewing. It has to grow on you; otherwise, the characters just feel so ho-hum. These developments make no sense, and the opportunity for Sisko and O’Brien to have fatherly bonding time is relegated to brief B storyline moments. Both a lot of big things and too many little things happen in the “Tears of the Prophets” finale-  the invasion of Cardassia, and spoilers to no one, the death of Jadzia.  It’s all depressing, with the rest of the episode feeling more like time filler. You shouldn’t conclude such an awesome season on many little points when you have big exclamation points in the balance.  Is it over? Is that all? Invasions and death- shouldn’t this be heavier? Deep Space Nine may have ended right here, and after all of Season 6’s glory, no one would have noticed. Once again, the series’ nagging built-in pitfalls hamper an otherwise fine year.

It’s ironic. Again, the full length of the season creates this very need for filler and a stretching of the goodness too thin. Having no money for meaty episodes requires individual and bottle shows that detract and take away from the heavy, dark, and battle driven ensemble.  Had there been less shows, the production could have ponied up for the action and stars the story needed to be its complete seamless tapestry. Goodness, six seasons of Deep Space Nine and I still feel like this leg of Trek is only half good thanks to such unevenness.  Were DS9 on television today and one randomly tuned in to a crappy episode, it would be very easy to pass on the entire show. As opposed to The Next Generation before it, where from late in Season 2 straight thru Season 6 almost every episode is a solid, memorable adventure that can be viewed time and again.  Audiences can’t judge all of Highlander: The Series by its weaker first season or woeful last season- Years 3, 4, and 5 are day in and day out dynamite. With Deep Space Nine, however, you have the First and Second Season stinkers, the developmental debut feeling in Year 3, then the same half greatness in Seasons 4 and 5 before this shared glory in Year 6.  Where are we to define this series’ overall flawed presentation? With one year remaining, it feels like DS9 never lives up to its potential. How can one claim this is the best Star Trek incarnation when its very persona feels based upon uneven fluff logistics and time wasters?   Cut the seasons in half, give us fully developed arching greatness, and we can talk about the exceptional merits of Deep Space Nine. Season 6 proves it can be done, so ignore the quibbles and go for the glory this year while it lasts.

Deep Space Nine Season 5

Deep Space Nine Further Ups the Ante for Season 5

By Kristin Battestella

I feel like I’m always saying finally with Star Trek: Deep Space Nine. Finally characters have been developed for better or worse. Finally it has gotten itself on track in this fifth season. Finally, at last DS9 is mostly all goodness!

Captain Benjamin Sisko (Avery Brooks) and his Security Chief Odo (Rene Auberjonois) must uncover the Changelings’ plans to infiltrate the Klingon High Council in order to broker a new peace with the Empire. Worf (Michael Dorn), meanwhile, begins a relationship with Trill Science Officer Jadzia Dax (Terry Farrell), and Major Kira (Nana Visitor) must carry the O’Briens’ (Colm Meaney and Rosalind Chao) baby to term while facing her own past. Jake Sisko (Cirroc Lofton) becomes a war correspondent as the Federation fights the Klingons, Maquis, Cardassians, and The Dominion, and the battle intrigue provides major revelations for Doctor Julian Bashir (Alexander Siddig).

Some of the personal and family station-side on Deep Space Nine is substituted for wrapping up the Klingon leftovers from Year 4, and those heavies do take until mid-year here to completely resolve amid the forthcoming Dominion angst in “Call to Arms.” In the premiere “Apocalypse Rising” and battle episodes like “Soldiers of the Empire,” these criss-crossing plots are effective. Unfortunately, we spend so much time with the build up of Changeling infiltration and blood testing suspense- particularly in the two-part “In Purgatory’s Shadow” and “By Inferno’s Light”- before these twists are subjectively utilized or simply dropped all together by the end of the season and The Dominion War. I feel as though we’ve spent three years waiting for the dang Dominion already! Thankfully, “For the Uniform” and “Blaze of Glory” resolve the Maquis drama in fine form, and “Empok Nor” is an interesting little horror-esque askew look at how DS9 might have been. “Children of Time” also adds Deep Space Nine’s touch of sacrificing darkness to its sweet Trek form, and of course, “Trials and Tribble-ations” is also exceptional just for the novelty alone. When you see how simply glorious The Original Series can look intercut with the 24^th century, one wonders why we ever left Kirk’s era. Even if you are a non Deep Space Nine Star Trek fan and might miss a few internal references, this episode is simply a must see.

Strangely, it seems as though we don’t have much Sisko-centric material beyond the Emissary touch in “Rapture.” Remove his individual episodes and you’re left with just more room for Battle Sisko Badassery from “Apocalypse Rising” thru the “Call to Arms” finale. Although it is weird how both Cirroc Lofton and Melanie Smith as Ziyal have no goodbye scenes with their parents during the premiere or before any of the year’s critical scenarios.  Jake has some good cowardice questions in “Nor the Battle to the Strong” and there is family friendly teen fun with Aron Eisenberg as Nog for “In the Cards.”  After such lovely father/son relationship pieces in prior seasons, however, the Sisko family moments are too minuscule to enjoy here. Thankfully, Rene Auberjonois keeps the intimate and personal going with Odo’s history and prior Terok Nor dilemmas in “Things Past” and “The Begotten.”  Some of the shapeshifter now a solid romance in “A Simple Investigation” is iffy, but the Odo and Armin Shimerman as Quark buddy material is once again great in “The Ascent.” “Ferengi Love Songs” and “Looking for par’Mach in All the Wrong Places” create some solid lightheartedness with a fun, unexpected Klingon and Ferengi mix. Though not everyone may like the Ferengi humor, Quark’s moral twists in “Business as Usual” are definitely a delight.

 
Sad spoilers ahead! Perhaps the weirdest changes Deep Space Nine presents for Season 5 are the revelations regarding Julian Bashir in “In Purgatory’s Shadow” and “Doctor Bashir, I Presume.” So, over the last four and a half years your regular show doctor has been made so nondescript that you can make him an alien and no one notices? Yes, this fundamental change was written after the fact and thus Alexander Siddig wasn’t even told to play the character differently. However, it is a little ridiculous that there was a bland enough regular- one that we’ve supposedly known and cared about all along- to which the writers can even do this.  Alien switcharoos notwithstanding, it turns out Bashir is also genetically enhanced ala Kahn infamy! Now, instead of letting the character languish in O’Brien’s coattails all this time, why wasn’t this secret Bashir’s bane there all along, creating a pleasing, dark development much more in DS9’s vein? We can look back now and presume Bashir’s deliberate mess ups and bad choices had meaning, but knowing this was all a change on the fly isn’t nearly as fulfilling as having had the audience in on the character’s difficulty from the beginning.  It’s a bit of a defining moment for Deep Space Nine. Either one sees this as the shedding of the child’s play from early seasons or this is the fed up and led astray viewer quitting over one too many cop out and sharked jumped ploys.  

Though the romance between Nana Visitor’s Major Kira and guest Duncan Rhegar as Minister Shakaar is also just too awkward, there is chemistry in the pregnant Visitor’s storyline with Colm Meaney as Chief O’Brien. After all, Kira is carrying his onscreen baby! The action risks for Kira in “The Darkness and the Light” might seem questionable due to the pregnancy plot, but the Bajoran debates are great. Likewise, Marc Alaimo is again perfection regarding the Kira/Dukat angst in “Ties of Blood and Water.”  Unfortunately, Rosalind Chao’s weird Pah–wraith takeover in “The Assignment” doesn’t help Keiko’s development any. The entire birth and her role in the family seems amiss, and the one-sidedness also creates a missing O’Brien feeling as well. He has some spooky fun in “Empok Nor” and pieces of B storylines dealing with babysitting, and ironically, it’s Jadzia Dax who gets the much needed dimension. Dax does more in “Soldiers of the Empire” than in 4 years of reporting the dockings at DS9! The episode itself is styled as what should be an inferior marauders or bandits type cliché; however it is so Klingon battle detailed awesome that all the players benefit from its success. Even Worf has some exceptional moments here, now that he finally has something major to do on Deep Space Nine. Of course, it doesn’t really last thanks to some serious WTF Risa politics in “Let He Who is Without Sin.” Once again, guest regulars like Andrew Robinson as Garak, Robert O’Reilly as Gowron, Kenneth Marshall as Eddington, and Jeffrey Combs as Weyoun are superior.  

Ironically, now that the larger Dominion plots and cast statements have seemingly what-took-you-so-damn-long put Deep Space Nine on the right track, it is too late for newcomers or casual fans to tune in for the complex, internal, multi-part glory.  In order to appreciate the gung ho moving forward of Season 5, viewers must be familiar with at least the two previous seasons.  Yes, it is a frustrating way to go- one must take the questionable shows and filler episodes of multiple meandering seasons to understand and enjoy when DS9 is good.  Even die-hard fans can’t dive in or pick and choose what hours to watch at will. However, it isn’t the arc storytelling itself that hurt- and perhaps still hurts- the show’s popularity.  It’s that it was apparently done so haphazardly in order to lock viewers into watching crappy stuff along with the gems. At this point in the series, if you’re in for an ounce, you must take the entire pound. Deep Space Nine has taken its sweet ass time in getting itself together, but finally, Star Trek fans who enjoy the heavy can at last praise the acceleration in Year 5.

Deep Space Nine Season 4

Deep Space Nine Season 4 Adds More Changes and Improvements

By Kristin Battestella

The conclusion of Star Trek: The Next Generation seems to be its successor Deep Space Nine’s gain as Year 4 ups the ante with renewed attention, changes, and characters, creating almost a burden of riches.

Captain Benjamin Sisko (Avery Brooks) asks transferred Lieutenant Commander Worf (Michael Dorn) to remain on Deep Space Nine after the Klingons move towards war against the Federation and invade Cardassia. Major Kira Nerys (Nana Visitor) struggles with her own personal Cardassian revelations and Bajoran politics- and she must carry Miles O’Brien’s (Colm Meaney) baby to term after a shuttle accident. Odo (Rene Aubernojois) deals with Changeling subterfuge, and Captain Sisko returns to Starfleet Security on Earth to uncover possible infiltration by The Founders.

The Powers behind Deep Space Nine make plenty of changes this year, some good, and some one step forward two steps back. Visually the credits look nicer, but the titles are still dang slow, and the stinky new music sounds like two compositions playing at once.  Everyone is also suddenly promoted, finally.  It’s as if Deep Space Nine is being taken seriously by its own team at last. Even if the writers don’t exactly know where the show should be going, it feels as though they now realize it has to go somewhere. These Klingon efforts, however, go on too long, detouring DS9 into a deeper hole. The series’ core wormhole exploration and Gamma Quadrant troubles are further pushed aside, and there are just too many threads on which to chew.  With all this extra new and improved, every episode should be packed with presence, but no. Shows continue to meander with too many one-off episodes and a lot of trial and error. Again, with the shoehorned Klingon angst, it’s as if the audience is asked to wait again while Deep Space Nine finds its footing.  Each piece of great we get is nice and good, sometimes even real greatness, but at this point, the seemingly by the seat of their pants production seems unfair to the viewer, or at the very least, dang frustrating.

But shave his head to go along with the goatee, and Benjamin Sisko gets even tougher and more badass! Brooks is excellent thru the Starfleet thick of “Homefront” and “Paradise Lost.”  The prophet twists in “Accession” and the personal dilemmas in the mirror crossover “Shattered Mirror” and the Maqui consequences in “For the Cause” add wonderful depth and tension as well. Of course, it seems like Cirroc Lofton’s Jake Sisko is even more barely there than usual- he’s almost completely gone after “The Muse.” Does he have some sort of seasonal quota, one teen SF and one Trek greatness as in “The Visitor”?  “The Visitor” feels like the first real Star Trek episode DS9 has done in awhile, if at all. It’s simply a superb and bittersweet family science fiction tale, and yet the order of episodes just tosses away this dynamite one-off Trek show for Klingon back peddling. If you must do isolated ‘filler’ tales, “The Visitor” is how to do it exceptionally.  Guest Tony Todd (Candyman) is delightful as the older Jake indeed, so I’m a little peeved his recurring Kurn character was not used for Worf’s introduction in the otherwise solid “The Way of the Warrior.” Adding insult to injury, Kurn is subsequently written out in the dumbest way possible. You are on a space station with a dozen recurring characters, you’ve just added more Klingon angst, and so the only logical thing to do is un-brother Worf in “Sons of Mogh”? Michael Dorn is still delightful as Worf, but forcing him into somewhat meaningless Klingon adventure with Dax in “Sword of Kahless” is a misuse. “Rules of Engagement” is also a finely filmed testimonial with courtroom flashbacks; however, Worf feels squeezed into similar storylines and doesn’t have much of a place on Deep Space Nine as yet.

Thankfully, Rene Aubernojois is once again dynamite as Odo in “Crossfire” and the season finale “Broken Link.” Consistency simply put! Likewise, Armin Shimerman’s Quark is a load of fun along with his fellow Ferengi Max Grodenchik as Rom and Aron Eisenberg as Nog in the utterly classic science fiction tale “Little Green Men” and the labor dispute humor of “Bar Association” with Chase Masterson as the equally goofy Leeta.  Romances, however, don’t seem to work on Deep Space Nine, especially for the new look Major Kira and the hampered development of Duncan Regehr’s Shakaar. Instead, Nana Visitor does her best in the awkward relationship with Kira’s Cardassian enemy Dukat in “Indiscretions” and “Return to Grace.” Outstanding guests like Andrew Robinson as Garak, Marc Alaimo as Dukat, and Cyia Batten and Tracy Middendorf as Ziyal shine in further Cardassian explorations and continue to lift DS9.  Jeffrey Combs is also a dream as both the slimey Founders’ Vorta middleman Weyoun and the shady Ferengi Commerce rep Brunt, and Penny Johnson provides great strength and division for Sisko as Kasidy Yates. Sadly, “The Muse” seems like a poor way for Luwaxana Troi to depart Deep Space Nine, and the secondary regulars don’t fair well in the crowd. Chief O’Brien must be traumatized yet again in “Hard Time,” and absentee wife Keiko (Rosalind Chao) must share her baby with Kira in “Body Parts.” It’s a smart way to incorporate Visitor’s real life pregnancy for Season 5, but the move does more for Kira than the O’Briens- whose main purpose again seems to be for buddying Julian Bashir.  His holosuite romp “Our Man Bashir” is an exceptionally well made Bond Spoof, but the episode is about those spy motifs themselves, not Bashir.  He has medical dilemmas in “Hippocratic Oath” and “The Quickening” but it is all sub par SF medicine and weak Dominion ties amid the Klingon domination this year. 

Unfortunately, Jadzia Dax has been retreated into further undercooked development. DS9’s only Science Officer does nothing scientific and has become a glorified receptionist. Dax reports when ships come into the station, and that sentence is usually followed by an ill-timed humorous comment or some sort of chick joke- oh, my dress uniform and the like.  The character wanders between the hot chick with which every man on the Deep Space Nine is in love or the funny old person who might say something wise, and ultimately, both incarnations never do anything significant.  It’s not necessarily Terry Farrell’s fault; the character troubles are not from the actors, but the confused writing, as proved in “Rejoined.” Farrell shows she can act when given material, but “Rejoined” comes off so wrong in its Trill for Trill’s sake sexual exploitations. I don’t think the writers intended the show to amount to the first Star Trek girl on girl kiss for the titillation, but that absolutely ends up being what the episode is about, once again using a character for nothing more than her species problems, and then making that a play on play of sexuality.  It’s the culmination of everything that’s wrong with the character. Jadzia is meant to be the hot dream girl and the fun, even geeky best friend of every young man’s fantasy. Honestly, would they have done a same sex Trill former love episode had our character been Curzon Dax? I think not. The show isn’t meant to be about lesbianism in the 24^th century, but the shock and awe use of it in “Rejoined” is loud and clear. Maybe the lady action works for popularity and the ratings, but its misuse cheapens the hefty and dark side of Trek that Deep Space Nine has illuminated so well.   

After steady improvements over the flaws of its first two seasons and numerous strong changes in Year 3- some of them quite glorious introductions- Deep Space Nine manages to loose its way a touch in Season 4. Though the quality shines above the fluff and a lot of goodness happens, like a puzzle without a picture, DS9 still doesn’t have a consistent vision week to week. Fortunately, Next Generation lovers who dismissed Deep Space Nine’s early weak seasons can return fresh with Worf’s transfer, and previous Trek fans or longtime science fiction audiences can continue fresh here thanks to the step up in Klingon angst and Changeling intrigue.  

Deep Space Nine Season 3

Deep Space Nine Season 3 Begins to Find Focus

By Kristin Battestella

Finally in its Third Year, Deep Space Nine’s continued improvements have separated the spinoff from its traditional happy go lucky Star Trek predecessors.

DS9 Commander Benjamin Sisko (Avery Brooks) and his Security Constable Odo (Rene Auberjonois) use the newly arrived USS Defiant to search the Gamma Quadrant for Odo’s shapeshifting species.  Unfortunately, The Founders turn out to be the enemy, plunging Major Kira (Nana Visitor), Bajor, and everyone on the station into fear of a Dominion attack.  Wormhole dilemmas, time travel troubles, Cardassian treaties, and Maqui tension only add to the Jem’Hadar threats.

Had this been Deep Space Nine’s debut season, oh me oh my! Strong multi part story telling from “The Search” 2 part opener, “Improbable Cause,” and “The Die is Cast” narrow Deep Space Nine’s previously busy and unfocused internal Bajoran politics and instead focus on Gamma Quadrant dilemmas and lovely Cardassian ambiguity and intrigue. “Past Tense I and II” make a few wonderfully eerie- even unsettling- statements, too. We are dealing with some of that predicted economic crisis and protest whirlwind today, aren’t we? The Ferengi centric “House of Quark” and “Family Business” keep some of the humor and lightheartedness in DS9 as well. Who knew the profit obsessed little trolls could be the perfect parallel with their- gasp- non profit oriented social change? The mirror universe episode “Through the Looking Glass” also has a lot of decidedly un-Trek possibilities, and self contained shows like “Civil Defense” put our players in a mini crisis before the big crisis.  The blended brooding and foreshadowing of bigger things to come happens at a pleasing pace- elements linger and build rather than being forgotten from one episode to the next.  However, even with these vast improvements, Deep Space Nine is still rather undefined at this point in the series. Plugged in Maqui angst is used as needed, and all the plotlines are again unnecessarily stretched over too many filler episodes per season.  There’s internally good suspicion in “The Adversary” finale, but with so much foreboding left hanging, it feels a bit flat.  The Dominion and The Founders are built up too much, seemingly insurmountable, almost mythical in the undefeatable-ness. Fortunately, there’s enough here to create hope and interest in Season 4.  

Well, Sisko grows a goatee and what do you know, the character gets better! “Destiny” combines the Bajoran prophecies and intergalactic angst nicely, and Sisko has some fun in the Mirror Universe, too. Finally promoted in “The Adversary,” Captain Sisko does well in a crisis, indeed. It’s ironic how Brooks also shines as the twisted and murderous former Dax host in “Facets.” He certainly has the range to take Sisko to the next level.  I like Cirroc Lofton as Jake a lot, I do- especially compared to the usually annoying Trek kids- but he simply doesn’t appear enough to warrant regular status.  Though it’s great to see family and history DS9 style for “Explorers,” Aron Eisenberg as Nog is far more interesting in the teen explorations and Ferengi familial tug and pull with Starfleet aspirations. Some characters and their roles are still unacceptably undefined here in Season 3. I swear the writers would rather Colm Meaney’s Chief O’Brien be single just so they can by default strengthen Siddig El Fadil’s Doctor Bashir with his friendship. Why was Keiko O’Brien not a useful character? Short botanist missions to Bajor, through the wormhole alien plant adventures, space station hydroponics gone awry- there were plenty of possibilities for Rosalind Chao, and I don’t understand her awkward appearances and weakly excused disappearances.  Fortunately, O’Brien does lay on the heavy wonderfully in “Visionary,” and even Bashir grows some thanks to “Distant Voices” and the “Past Tense” events.  

 

Some of Odo’s personal explorations in “Heart of Stone”, are a bit silly against trumped up tensions in “The Abandoned,” but Rene Auberjonois’ comes to play any time, any place. Even if some didn’t want Odo to meet his people and much less have them be villains, his story is delightful even when effects, plotting, and the rest of Deep Space Nine are lacking. Likewise, I’m glad Major Kira’s going nowhere relationship with Philip Anglim’s Vedek Bariel is resolved in “Life Support.”  We’re treated to more of Kira’s Bajoran roots via some healthy aversion and the titular guest Duncan Regehr (V: The Series) in “Shakaar,” and there’s still plenty of questioning of herself in “Second Skin.” The Bajoran apprehensions have upped the ante, but my goodness gracious Louise Fletcher as Kai Winn is so love to hate that her appearances aren’t even enjoyable.  Winn’s cruel spiritual and political manipulation is just too irritating and change-the-channel worthy to be entertaining angst or fine drama.  

By contrast, I want to like Jadzia, she seems to be smart and fun. Unfortunately, we still don’t know that much about her personality against the previous Dax hosts. “Equilibrium” and “Facets,” though fine episodes, are once again used to explore Trill inner workings instead, and “Meridian” is just a completely dumb romantic waste. Besides, isn’t it wrong to identify an individual solely by her species?  In some ways, we don’t know any more about Jadzia then we do about that lovable and fun to spot barfly Morn.  Sometimes, we get more depth and explorations from the generally perfect or exceptional guest stars.  We know more about Andrew Robinson’s Garak, and yet all we know about the sometime tailor or spy is that we know nothing.  It’s fascinating, and Robinson should be a $$^%& regular!!  Wallace Shawn is also lots of fun as Zek in “Profit Motive,” mixing the expected Ferengi charm with wise words and change. Humanizing and dare I say it even heartwarming elements from Marc Alaimo as Gul Dukat are also superb.  Despite “Defiant” being a Thomas Riker/Jonathan Frakes vehicle, the multifaceted layering and subterfuge amid Cardassia shines brighter.

More ships and space battles have also improved the effects and action on Deep Space Nine this season. Though I don’t like the notion of action being called in to spice things up or replace story telling, seeing hefty felt battles is new, special, and enticing in Trek TV.  Having more aliens we already know and love like Klingons and Romulans is nicer than weird Mos Eisely random aliens that don’t always work.  Why are there no long-standing Federation representatives on DS9 anyway? What do the Vulcans and Andorians think of The Dominion? Where are the rest of the hundreds of Alpha Quadrant species looking out for their planet’s interests beyond the wormhole? Why did they create dang Betazoids if they aren’t used? Sometimes closer to home Star Trek prospects are overlooked just for the sake of something wham bam. It’s a shame that Majel Barrett only visits in “Fascination” for the usual telepathic making everyone get sexy mishap. We need the lighthearted now and again, sure, but Luwaxana Troi deserves more- and Deep Space Nine needs to focus even deeper on what it intends for itself amid Trekdom.

Here in Year 3, Deep Space Nine makes huge, even tremendous strides in setting itself apart as a series whilst also taking Star Trek forward as a franchise.  One need not choose any one version of Trek over the other. However, I can see why some who didn’t like previous Trek incarnations love DS9 for its darker interpretation. The show truly begins to find itself and take shape this season. Unfortunately, this spinoff is still unnecessarily taking its dang time with its own M.O., and there’s still more fine-tuning to go. Nevertheless, new viewers or returning Star Trek fans can begin with Deep Space Nine here before the series’ major heavy begins.  

Deep Space Nine Season 2

Deep Space Nine Season 2 Improves, Thankfully.

By Kristin Battestella

After the faulty onset of the Star Trek spinoff Deep Space Nine, the series’ second season has a lot of damage control on its hands. Fortunately, things are much better for this 93-94 Year Two. 

Bajoran and Cardassian relations are not going too well, and Commander Benjamin Sisko (Avery Brooks) and his Bajoran liaison Major Kira Nerys (Nana Visitor) are caught in the middle of the tensions along with Deep Space Nine.  Maquis rebellions against the Federation and trouble on the other side of the wormhole in the Gamma Quadrant aren’t making life on the station any easier for Chief Miles O’Brien (Colm Meaney) and Doctor Julian Bashir (Siddig El Fadil).  Security Constable Odo (Rene Auberjonois) is still seeking his place as a shapeshifter among the humanoids on DS9, but Ferengi bartender Quark (Armin Shimerman) is looking for profit through the wormhole with a little group called The Dominion.

Deep Space Nine begins to come into its own with a great three-part opener, “The Homecoming,” “The Circle,” and “The Siege.” Multi part and in depth storylines give this series a chance to establish itself beyond The Next Generation copies and traditional Trek ideals. The heavy “The Jem’Hadar” finale, other smartly planted touches regarding the Dominion enemy, and Mirror Universe examinations in “Crossover” further define the uneasy amid the supposedly tranquil.  Yes, the Mirror plots may seem like a cop out way to spotlight our players by showing how they alternatively could be so bad. However, these properly used insights and ties to the original Star Trek in “Blood Oath” add nostalgia and older creditability to DS9’s repertoire.  Besides, Mirror treats are always a fun, healthy way to twist things without doing a throwaway comedy episode like “Rivals.” There is definitely something more to Deep Space Nine beyond the TNG dark side and Trek filler. Some players on DS9, it turns out, don’t like each other very much; comings and goings on the station are not always what they seem, as showcased in “Sanctuary” and the aptly named “Cardassians.”  The Late season “Maquis I and II” gets right to the core of DS9’s growing specialty.  The idyllic Federation life way back on Earth can’t handle all the frontier trouble facing Deep Space Nine, can it?  

However, there are still plenty of troubles on Deep Space Nine.  We’re stuck on a dark and dated space station, and the confined setting and wayward plotting feel like a step down in production, even amateurish. We don’t see wondrous explorations from week to week, and some of the compensating alien makeup is either too weird and inconceivable or ho hum humanoid. Really, dudes with prosthetic giblets over their lips yet they’re still drinking synthehol at Quark’s?  Internal episode pacing is also patchy. There’s a lot going on on this show, perhaps too much.  TNG filler, TOS homage, dry Bajoran politics, Cardissian angst, Maquis trouble, and Dominion rumblings along with character bottle shows.  Can one series, let alone one season of a show, handle all that? While there have been considerable storyline strides since the first season, the viewer is still expected to wait on the supposedly major and important plots for an offshoot fluff show. The 26-episode order seems so long today, almost feeling as if it is an excuse to meander.  We’re two seasons in now, and this is really an awful lot of episodes for us to not intimately know all our players.  Some finer episodes still come across as TNG retreats, too. Crowded and spotty A and B or C storylines still don’t give the audience the vital character development we need.  Though Oscar winner Louise Fletcher (One Flew Over the Cuckoo’s Nest) is great as guest star Vedek Winn and Frank Langella’s (Frost/Nixon) surprise Minister Jaro is a treat; I’m kind of tired of Bajoran corruption and Kai politics.  How many times can we go round and round because it’s so important yet have its resolutions disappear for 20 episodes?  Deep Space Nine feels so roundabout thanks to this burden of riches, and the series does tread some water this season while trying to find its place. 

Fortunately, individual episodes like “Second Sight” create more interest and romance for Benjamin Sisko. Although “Paradise” is another sub par TNG plot, a strong performance from Brooks allows Sisko to step it up as needed, seen likewise in his battles with Gul Dukat in “The Maquis I and II.”  It’s also wonderful to see his alternate rogue in “Crossover,” simply because Mirror Sisko is much more head-to-head and badass.  We know Sisko can do much more; it’s just a matter of giving Brooks episodes with enough room to shine.  Also lacking in episodic focus is Cirroc Lofton as Jake Sisko. The commander’s son is still too absentee for a regular character family dynamic, but his storylines are pleasing when we get them- as seen in the “The Jem’Hadar” finale. Thankfully, the explorations for Major Kira are observed through different lenses in “Crossover,” “Sanctuary,” and “Necessary Evil.”  Her relationship with Philip Anglim as Vedek Bariel in “The Collaborator” just feels left field stale and unnecessary, yes. It’s not easy for the former militant to find herself in this newfound peace and uniting with the less than perfect Federation, but we know who Kira is, was, and wants to be. No man is needed to define the character anyway, and the already given opportunities for family and relationships get shafted. However, Kira’s uneasy peaceful parallels are a nice embodiment of the gloomy Trek trying to come across on Deep Space Nine.  

Colm Meaney as Miles O’Brien is also his usual steady in “Tribunal,” “Armageddon Game,” and the perfectly un-Trek “Whispers.”  They don’t do much to expand the character, but more reasons for the audience to love O’Brien are always a good thing.  I don’t know why the writers seem to have a go-to for letting people mess with the Chief!  Rosalind Chao’s Keiko is again underutilized in terms of appearances and realistic marriage representations, unfortunately. Why create couples of the week when you have a married regular? I digress. At least Chao provides solid marital support when tasked. Rene Auberjonois is also superb in “The Alternate.” His unique outlook and begrudging attitude are a welcome change of pace in the usually happy Trek family, and Odo stands out whether he has a few moments or an entire centric episode.  Similarly, even if you find the Ferengi too outright comedic, Armin Shimerman as Quark and Ferengi focused shows like “Rules of Acquisition” are wonderfully insightful and revealing. The Ferengi are supposedly so corrupt, merely an imperfect race of ugly little trolls compared to pleasant Trek pretties. Nevertheless, DS9 shows us so much more- including the plight of female Ferengi and the loveably cranky Wallace Shawn as Grand Nagus Zek.  Max Grodenchik as Quark’s brother Rom and Aron Eisenberg as nephew Nog are always endearing, too.  If I had to choose between musty, sluggish Deep Space Nine filler and misuses of Odo like “Shadowplay” or Ferengi fun like “Profit and Loss,” I say bring on the latinum.

Once again, despite several Trill centric episodes- including “Invasive Procedures,” “Playing God,” and “Blood Oath”- we still don’t know that much about Jadzia herself. Strangely, we know a lot more about prior Dax hosts while Jadzia remains the stagnant but pretty talking head tech babbler.  Big whoop. On the rare occasion she does give an answer or contribution, it’s usually a convenient experience from the symbiont. Likewise still underdeveloped, even Bashir focused shows like “Melora” aren’t actually about him.  We know he’s a compassionate doctor in a budding O’Brien friendship- a doctor who plays racquetball in the subpar “Rivals.” Wow.  Fortunately, the recurring players are once more perfection. The transitions for Bajor and the Federation aren’t supposed to be easy, but imagine if Marc Alaimo were taking the piss as Dukat at every morning meeting. It’d be more interesting than Jake’s few and far between nothing new teenage drama. The second tier regulars should be developed more or they should make room for the waiting in the wings recurring characters.  We don’t know much about them either, but they are intriguing, mysterious, and the allure keeps Deep Space Nine going when the these limp regulars fail.  Andrew Robinson’s Garak is again wonderful in “The Wire.” Seriously, why isn’t there a regular Cardassian always on the show? Mary Crosby (Dallas) also gives us a fine female Cardassian spin in “Profit and Loss,” and John Colicos, Michael Ansara, and William Campbell are also great Klingons in homage to TOS in “Blood Oath.”

The problems that plagued Year 1 are still felt here in Round 2, definitely, and there is still a long way to go towards Trek greatness. However, with its tighter possibilities, budding promises and potential, and less reliance on its predecessors, Deep Space Nine Season 2 feels like a far, far better introduction to this series. Dare I say it, but those completely new to Trek may even forgo Season 1 altogether and begin fresh here.  Even in a feeling long season, there are only a handful of less than stellar episodes here to stall an audience, making Season 2 of Deep Space Nine a vast improvement over its rocky beginnings.

Deep Space Nine Season 1

Deep Space Nine Season 1 is a Bit of a Hot Mess

By Kristin Battestella

Yes, many elite fans find the second Star Trek spinoff series Deep Space Nine to be superior Trek TV.  However, when the show first began in 1993, I found myself disinterested and never went back.  Now, we’ve decided to try this debut season again, and thus far, DS9 still has a lot- perhaps too many- growing pains.

Cardassia has finally withdrawn from its half-century occupation of the planet Bajor, and the Federation sends widowed Commander Benjamin Sisko (Avery Brooks) along with his son Jake (Cirroc Lofton) to the newly rechristened space station Deep Space Nine to ease the transition for former resistance fighter Major Kira Nerys (Nana Visitor) as Bajor rebuilds towards Federation membership.  Also along on the Federation’s frontier are newly reassigned from the Enterprise Chief Miles O’Brien (Colm Meaney) and a fresh out of the academy doctor, Lieutenant Julian Bashir (Siddig El Fadil).  Sisko’s old friend, a Trill named Dax (Terry Farrell), joins him as they discover the first known stable wormhole- a passage to the Gamma Quadrant created by aliens worshipped as prophets on Bajor.  Interstellar trade, tension, and exploration to the newly contacted region are only the beginning.

Whew! It all sounds magical and promising, I know. Unfortunately, the writing and storylines from longtime Trek producers Rick Berman, Michael Piller, Ira Stephen Behr, and their team are awfully slow and dry. There’s a feeling of busy space station happenings off screen- but the viewer gets to see a lot of Star Trek: The Next Generation filler instead.  At worst, it’s too much of TNG’s leftovers; at best, there are too many TNG déjà vu similarities.  It’s as if the direction and initial planning for Deep Space Nine is torn at the foundation. Yes, we want DS9 to attract Next Generation fans- the akin science fiction ideals and explorations are there of course. Out the gate, however, DS9 simply doesn’t have the allure.  Core characters here are too broadly written, with little more than their bland show profile information given.  Though interesting, the titular “Dax” feels like an inferior “Measure of a Man” trial, and “Q-Less” completely screws the fun out of prior Q appearances.  Likewise, Deep Space Nine’s built-in Bajoran and Cardassian nucleus feels barely touched upon except for the solid “Past Prologue”, “Duet”, and “In the Hands of the Prophets.”   Looking back, even the Trek crew admits the inferiority of this debut season, but it doesn’t take much to see it. Useless episodes like “Move Along Home”, “If Wishes were Horses”, and “Dramatis Persona” are dream/games/crew possessed and acting weird shows that do nothing to advance narratives or characters.  Of course, this format is nothing new in genre television and especially Trek. In fact, such unusual or diversionary bottle shows are often welcomed- but later in a series, when one can deviate from the firmly established source.  In this first season, how many people going wonky on a space station bottle shows can one have before the audience realizes we know nothing about the players? What’s going on on this space station and why should we care?  Perhaps “Babel” is the exception here, as it comes early enough in the season to show viewers how our players react in a crisis. Otherwise, the episodes themselves are uneven, imbalanced, or poorly planned depending upon which characters are leading the A and B storylines.  Some parts and players in some shows are better than others, creating a serious inconsistency.  In today’s desperate and changing television model, these 19 episodes would not have survived in syndication or on cable, much less prime time. DS9 stands up best when it sticks to its own budding Bajoran/Cardassian mythos, creates interesting characters on its station, and explores the unique SF concepts within those dynamics. It is quite ingenious that we’re supposed to see more politics, religion, spiritualism, disagreements, and confrontation on DS9 instead of the longstanding ideal Trekdom. So why is this first season deviating from its plans with funny filler knock offs every other episode?

Naturally, the cast is hampered by all this indecision.  Avery Brooks (Spencer for Hire) is the man, and yet Benjamin Sisko- a mere commander despite DS9’s increasing strategic importance- is meh. It’s surprising because we know Brooks can be so glorious, but Sisko is too dry, made too everyman and uninteresting somehow. Despite a lovely father and son dynamic, Cirroc Lofton as Jake Sisko is inexplicably barely there, too. Why are we not seeing this unique relationship if the show is about life on a space station? It is mostly juvenile adventure when we do see Jake, yes. Fortunately, he and Aron Eisenberg as the young Ferengi Nog are a lot of fun together. It’s not the annoyance of Wesley Crusher on TNG at all, and it’s as if the writers don’t know what to do with their players. Sure, Trek audiences already know and love Chief O’Brien, but Colm Meaney really only excels in “Captive Pursuit.” Otherwise, he’s the same old lovable Chief with lots of techno babble to do, and again, it is a little weird that a would-be lowly NCO has a barely there team for his pseudo chief engineer role on a space station. Likewise, one would presume his wife Keiko would be a major character on the show. But alas, Rosalind Chao is only a guest star, leaving Keiko more often than not just an on-camera dialogue reference. You would think there would be a lot of use for a botanist from the Enterprise to grow plants on a space station, but apparent not so on Deep Space Nine.

 Thankfully, Armin Shimerman (Buffy) as Ferengi bartender Quark and Rene Auberjonois (MASH) as the shape shifting head of security Odo know their characters’ unique complexity and bemusing antagonism.  Ferengi centric episodes like “The Nagus,” with Wallace Shawn (Clueless) as Zek, enlighten us with wit and otherwise new and unseen Ferengi intricacy and charm.  Though also fringing on a ‘Data esque’ feeling, “The Vortex” and “The Forsaken” are great Odo shows. He’s special, he’s crabby, he’s alone, and the seed is there for years of fine development. Unfortunately, I can’t say the same for Terry Farrell (Becker) as Trill Jadzia Dax and Siddig El Fadil (24) as Doctor Bashir.  We can forgive the changes to the Trill design, sure, but Dax isn’t very interesting beyond her spots. Seriously, she does almost nothing but sit in the same place and press buttons.  And Bashir, I must say, seems like a real jerk, even a quack.  He almost always doesn’t know what he’s doing, and nearly every case is something he has never dealt with before.  Really, how can a junior grade lieutenant be your only doctor anyway? Part of the stagnancy in DS9’s first season is simply that the undercooked players aren’t developed or even that likeable. Wild card Nana Visitor (Wildfire) as Major Kira is both annoying on her Bajoran high horse and layered with sympathy, anger, and pain.  Beyond “Progress” and “Duet,” however, too little time is spent with Kira’s history and wartime complexity. We know we’re supposed to like Bajor and hate Cardassia, but recurring guests Marc Alaimo (Hill Street Blues) as Gul Dukat and Andrew Robinson (Dirty Harry) as the supposedly simple tailor Garak add much more dimension.  Honestly, the audience wonders why they just aren’t regular characters.

Looking back on these early 1993 models and computer effects, any flaws are forgivable. The visuals are, in fact, just fine most of the time.  Unfortunately, the set design and costumes are woefully futuristic nineties dated.  I know it is meant to be a clunky Cardassian space station, but Deep Space Nine doesn’t look well.  The Promenade is supposed to be a bustling interstellar hub, but it’s kind of bland and underdone. Instead, Operations has a lot of cluttered and useless Cardassian design for the sake of it junk, and Quark’s Bar looks like a dated discothèque. Now that I think of it, we don’t really see that much of the eponymous station at all, much less Bajor or the Gamma Quadrant. Despite those uptight, unnecessarily belted and big shoulder pad Bajoran uniforms and all these new opportunities, what we see still looks decidedly Trek.  There’s not much stylistically to set Deep Space Nine apart, and I’m sorry, I have to say it, these credits are slooowwww. 

 

 Certainly, that lingering Trek feeling and TNG kinship is perfect for longtime fans and Trek enthusiasts tuning in for DS9’s debut. Die hard fans can begin anew and casual audiences can start with the galactic possibilities and Trek spirit. There are new hints of explorations to come, yes- though the presentation is uneven with directionless ill footing.  Except for its flaws, nothing much stands out this season for Deep Space Nine.  Were it on television now, it would be very easy to give up on this spinoff and change the channel. Truly, it isn’t rerunning on numerous cable channels like its two predecessors. However, now affordable DVD sets and Netflix streaming options combined with the shorter episode order here make it easy for a general SF fan or a new to Trek layman to give DS9 a whirl.  It gets messy before it gets good, but why not begin the beguine with Deep Space Nine.

Scarlett

Scarlett No Gone With The Wind

By Kristin Battestella

I wanted to like Alexandra Ripley’s 1991 Novel Scarlett, but the book holds little against Margaret Mitchell’s original or the classic film adaptation. Likewise the 1994 miniseries Scarlett boasts lavish locales, costumes, and all the soap opera scandals one could ask for. These visuals and shockers are fine and dandy, but in the end William Handley’s adaptation holds little weight onscreen or off.

Now that Melanie Wilkes is buried, Scarlett O’Hara Butler (Joanne Whalley-Kilmer) pursues her wayward husband Rhett (Timothy Dalton) to Charleston. Despite a brief, yet passionate reconciliation, Rhett rejects Scarlett and marries Anne Hampton (Annabeth Gish, The X-Files). Although she is pregnant with his child, Scarlett does not tell Rhett, instead traveling to New Orleans to find her O’Hara relatives. Cousin Father Colum O’Hara (Colm Meaney, Star Trek: Deep Space Nine) is returning to Ireland, and Scarlett leaves America for her ancestral homeland.

While the supporting cast does well with what they are given, no one is given that much, except Scarlett herself. Joanne Whalley Kilmer made a name for herself somehow in the early nineties, but I’ve never seen her in a part that stole the show for me. Navy Seals? Willow? Outside of being the former Mrs. Val Kilmer, what has she done? A better actress could make do with such a convoluted script, but nothing about Kilmer’s (or rather Whalley’s now) performance harkens to the powerful Scarlett we’ve previously viewed or read. Vivian Leigh was by no means perfect, but she commanded attention when entering a room. Little Joanne is actually quite short in comparison to her leading men.

Timothy Dalton is actually my favorite Bond (The Living Daylights, License to Kill, and the quirky Beautician and the Beast!) but he has precious little to do here. Everyone in Scarlett is made to look stupid. All Rhett does is bat his eyes at Scarlett, then whisk away again. Over and over they taunt each other. I would have liked to have seen Dalton more. He seems capable of giving Rhett weight, but his shining moment in Scarlett never comes. Likewise Sean Bean’s (Sharpe) barely there English Lord Fenton is reduced to his usually villainy. At least his and Dalton’s accents are authentic. It’s a joy just to hear them talk so we break from Miss Whalley’s horrendous southern delivery.

Two bright spots in Scarlett that earn their keep (Sean Bean’s rapacious self is always a keeper) are Colm Meaney as Scarlett’s cousin Colum and Melissa Leo (Homicide: Life on the Street) as her sister Suellen. Both are few and far between in the series, but their accurate portrayals and authentic looks lend real honesty to their scenes. Sure we love the over the top bits, but it’s nice to remember most of the people during this time were not like Scarlett, Rhett, or Lord Fenton. Many were poor, working class, humble folks.

Accents and dialogue may suffer, but Scarlett is the best looking miniseries since North and South. Scarlett’s clothes reflect each of her situations perfectly. Despite her somewhat humble dress in Ireland, Scarlett is never seen in the same outfit twice. We don’t spend much time in any one locale, either. Atlanta, Tara, Charleston, New Orleans, Ireland, London all look stunning. I’m in heaven making my ‘beautiful scenery’ screen captures. The post Civil War opulence is certainly a delight to look at, even if it is a bit overwhelming. How many different places does Scarlett own? Buying the fabrics to make her gowns today wouldn’t be cheap, either.

Pretty and shiny things onscreen, however, are not enough to explain the mishmashed story presented by Hanley. The end of the novel is completely forgotten in favor of a new, murderous idiocy, and the only worthy subplot regarding the Fenian Brotherhood vanishes partway through.

The DVD presentation hinders the viewing of Scarlett as well. The six hour mini series is split over two discs, with no breaks. It’s one straight mother load without even additional credits introducing the players in the second half. So if one did want to pause and return, it’s a matter of skipping chapters instead of having definite episode beginnings. Upon my first viewing, I thought there would be an end at which to stop. Instead I was fighting to stay awake, wondering when Scarlett would end.

Despite my complaints about Scarlett, there is an audience out there who will adore this film. Period buffs, romance fans, folks who like to see Sean Bean stripped and oiled for now matter how brief a time- Scarlett is affordable enough for these indulgences. My set was $6.99 new. Gone with the Wind it is not, but take Scarlett for what it is; guilty visuals to sleep to.