DS9 – Time’s Orphan

Plot – The teaser seems to suggest that Molly has died. Which even for DS9 season six, is dark.

Time’s Orphan is the most Star Trek episode of a season that seems to be avoiding being Star Trek as much as possible and because of that it feels very out of place. This would have rocked in series two or three but in series six it sticks out like a sore thumb. The show had also jettisoned a lot of the pointless technobabble in favour of plot developments and character work but this dives straight back in and as ever my eyes roll off the screen when they start talking whacky science.

This episode can be split into three sections – the opening, which is fine and poses a genuine threat for the O’Brien’s – the middle, which consists of scenes of the O’Brien’s trying to re-educate older Molly which hardly set the world on fire but are reasonable done and the climax, where the O’Brien’s make an impossible choice, that really made me sit up and take notice. The climax is very neat, perhaps a little too neat for DS9.

What I love about the O’Brien’s choice to abandon their daughter on the planet is that it makes perfect sense because they love her and they know she is going to be much happier on the planet than she ever would be on a Starfleet facility. And because it is the last thing they would ever want to do is leave her there but for her it is the only choice. TV is always gutting when you see people making tough calls for genuine reasons. Can you imagine if they had decided to go down this route though? The loss the O’Brien’s feel would probably tear them apart. It’s beautiful that the impossible choice they make is the very reason they get ‘their’ Molly back. Without being willing to let her go they would never have got back what they lost.

Character – It might be the work of countless seasons of TV but I truly believe in the Miles/Keiko relationship, their chemistry and their family. She pokes fun at his weight, he loves holding his wife in bed, they have a precocious daughter who wakes them up at inappropriate times…it feels very real. Keiko even hates the cat, which is a lovely touch.

O’Brien has always prioritised his family and so I believe absolutely when he says he will opt in for a transfer if it means they have to apart. And he does.

The look on Odo’s face when Kira says she wants to have a kid of her one day. Ouch.

Worf and Dax holding the baby – now that’s a gorgeous subplot and one that gives substance to the tragic developments in Tears of the Prophets. Worf is smiling so much these days he’s a genuine pleasure to be around.

Performance – It’s probably easy to fear the worst when feral adult Molly shows up in rags ready to maul anyone who gets in her path but Michelle Kusiec gives a sweet, and volatile performance. I never doubted she was an older version of Molly. She’s stunningly beautiful too. Can you imagine being caged up on DS9 after being free on a beautiful planet for ten years? It would feel like being in prison.

Rosalind Chao gets a lot of flack for Keiko but I find her often a victim of unfortunate characterisation. Whenever she has had to rise to exceptional material, she has been more than up to the task. This isn’t exceptional material, but it is solid, and Chao is excellent. Sensitive, patient, warm, concerned. She feels like mother in an impossible situation making tough choices for her daughter.

Production – I’m not sure that after a run of station set episodes that season six should be spending its expensive location budget on this standalone affair but there’s no denying it is refreshing to get out in the brilliant sunshine on a beautiful planet. Production wise this is all beautifully done; nice sets, gorgeous location work, terrific music. Late DS9 is peak Star Trek, visually.

The organised chaos at Quark’s when Molly goes full on wild child and murders a customer is brilliantly staged. It looks completely random and messy and it must have been put together with real precision.

Best moment – ‘Oh bollocks!’ might be O’Brien’s best ever line.

Worf’s rant about being able to make Yoshi go to sleep is one of his best ever speeches. He’s so much fun here.

Odo gets the best moment of the episode, and deserves his kiss from Keiko.

Worst moment – Using Alexander as an example of how good you are with children is not Worf’s strongest argument.

‘May I have the ball?’ is perhaps a scene too far.

It’s hardly the most riveting getaway I’ve ever seen. It’s very a b c with very little in the way of suspense or drama. That’s the oddest time to drop the ball, because the rest of the episode is so well done.

A reason to watch this episode again – The absurdity of the premise is salvaged by some truly sincere (in the best possible way) performances, the execution and the little character moments that shine throughout. DS9 is rooted in character at this point and as such bad episodes can’t really slip through the net (average ones, sure) because the characters are driving the scripts. Whilst Time’s Orphan is hardly the most riveting episode of Trek, it does everything it does so honestly and with real heart that I find I can’t condemn it. I can’t even condemn it in the same way I did when I reviewed the series in depth. It’s touching in spots, and the performances sell the hell out of the silly premise.

***1/2 out of *****

Clue for tomorrow's episode:

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