DS9 – Dax

Plot – This is the last script that D.C. Fontana was involved in for Star Trek and it was a striking one to go out on. I don’t know where Fontana ends and Fields begins but they are both top tier writers for their respective shows and bringing them together merges two thoughtful writers and the end result is a script that makes you think, and feel, and lingers in the memory.

The concept of the perfect Trill crime – commit a criminal act and then kill yourself and have your symbiont go from one body to another – is an idea well worth some consideration.

Is the symbiont a distinct personality in its own right capable of autonomous thought or is it always a blended personality with the host? If a crime is committed, who is guilty? The writers have found an effective and intelligent avenue to explore Trill society, one of many that they would tackle over the shows seven years. There are no easy answers, which makes the investigation much more exciting.

Character – Bashir is such a godawful sleazebag in these early episodes of DS9 it is astonishing that they managed to salvage anything from his character, let alone turn him into one of the most empathetic and interesting of the main cast. Let me assure you that some major retooling was needed. At this point he is an egotistical, womanizing bighead whose mouth simply does not stop. There’s an earnestness to all of this. You can tell he is straight out of the Academy where he has been fed the same old nonsense that the Federation is the be all and end all and that humanity is the pinnacle of life in the universe. A prolonged spell on DS9 is just what he needs to disabuse him of all of those ideals. I’m not suggesting that he deserved to have the shit kicked out of him for letching after Dax through the corridors of DS9 but I’m sure it didn’t do his ego any harm.

Early Jadzia is a fascinating prospect because she is a far cry from the highly competent and fun loving professional that she will become in later seasons. She’s not long had the Dax symbiont and has chosen a serene, almost ancient approach to her manner. I think perhaps there was a chance that she might have been the Spock on this show – the wise old observer of humanoid behaviour – but the producers already has a ready made candidate in Odo (and a far better one in that respect) and realised that Terry Farrell was at her best when the charisma, sex appeal and humour shone through. So, these initial episodes are interesting to watch where everything is a little muted. She’s given some wonderful advice by the widow of General Tandro ‘Live Jadzia Dax. Live a long, fresh and wonderful life.’ She certainly does (maybe not the long part), and we are lucky enough to chart that life.

We learn far more about Curzon Dax than we do Jadzia, which makes this a substantial affair because Sisko had a hell of a relationship with him by all accounts. The personal stake is twofold; Dax’s life but also Sisko’s memory of his dear friend. A shame that Curzon didn’t have the chance to appear on the show (Facets aside) – he sounds like quite a character.

Performance – Avery Brooks can be such a passionate performer and so it is crazy that he was written in such muted way for the early part of this show. Dax sees him let off the leash emotionally and he gets to run the entire spectrum; anger, shrewdness, directness, a fierce intelligence and a love for his friend that probably isn’t earned at this point but is justified because of Sisko’s relationship with Curzon. When Brooks gets to show his very human side he is the most compelling of all the Captain’s and that is spotlighted here by the director. He gets a sparkle in his eyes that is hard to resist. The scene he shares with Jadzia once Curzon’s secret is out is beautifully played by both Brooks and Farrell.

Ann Haney gives one of the best ever guest performances on this show as the sly and commanding Bajoran judge, Renora. Courtroom scenes can drag interminably on Trek shows but Haney makes sure that they remain sharp and to the point. If she is unsatisfied with the direction things are going or thinks that they are being dragged out she will have no qualms and telling the consul to get a shift on and stop boring her. The way she says to Tandro ‘Fine. Sit’ makes me howl with laughter every time. She’s 100 years old and she doesn’t have any time (figuratively and literally) for unnecessary emotional outbursts.

Production – DS9 was hardly a show that flaunted much action in its first two years (Ron Moore turned up in series and suddenly there was an element of dynamism to the show) but it had a few moments where it pushed the boat out and the opening act of Dax was one of the better examples. I like it because it gives everybody something to do to try and rescue Dax and sees a cat and mouse game between Ops and her kidnappers where everybody is making smart moves. It’s not your usual throwaway Trek action (see Voyager and Enterprise for countless examples), it has actually had some thought put into it. Plus, by getting the action out of the way early, it means we have lots of time to get on with the smart stuff.

Best moment – Kira finally displaying some humour but with that added fire that raged in her in the first season. ‘Which not only compromises Bajoran security but also…annoys us.’

The twist that Curzon was having an affair with Tandro’s wife is a zinger because it is the most obvious answer but only when it is revealed and it comes as a shock to Sisko and an even greater shock to Tandro himself when his mother turns up at the hearing and publicly announces it. This is terrific drama, uncompromising in its reveal.

A reason to watch this episode again – One of the most promising early episodes of DS9 turns out to be a fresh take on a Trek cliché; the courtroom drama. It takes hold of a character that we know very little about and gives her depth and substance without having her utter very many lines of dialogue. It uses all of the regulars in creative ways (it’s really the first time they all work together for a very personal reason) and introduces some brilliant guest characters. It’s smart viewing, that’s what I like about it. It doesn’t assume that the audience is lobotomised. And it reaches an intellectually and emotionally satisfying conclusion. I remember thinking this was a little talky when I first viewed DS9 at 14 but as an adult this is precisely why I turn to this show more than the others. Beautifully acted, smartly written, tightly directed drama.

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

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