How do I begin to sum up 'The Visitor'? It's not only one of the finest episodes in all of Star Trek, it's one of the best pieces of television ever made. Every time I see it, I end up in tears. But it's not an overly sentimental tearjerker, it's subtle and honest in its storytelling. It's delightfully simple and self-contained, making it something that you can watch even if you've never seen any of DS9 before.
I think what clicks for me always is the performances. Everything that makes Avery Brooks my favourite Star Trek captain is displayed here, not only because of his performance but because of what he allowed Captain Sisko to be. He's a family man and a father before he is a Starfleet officer, and he's never afraid to show his vulnerable and caring side. Duty is important to him, but it's with the simple things in life that his heart really lies.
To complement that, Cirroc Lofton as Jake is probably the best he's ever been so far. The moment where his father first comes back and asks how he's doing, and instead of being able to reply he just starts to cry sums up so much of their close father/son relationship. Jake really needs his dad, even relies on him and there's a really deep love between them, undoubtedly solidified more since he lost his mother. We can see that without his dad, Jake turns completely away from the life he could have and shuts the doors to so many other people and paths. My favourite moment is actually the last time Sisko appears and he just watches old Jake sleeping with such a lovely expression on his face.
Then there's Tony Todd playing the older Jake who also is magnificent. While the old-age makeup effects still look kind of terrible (always a problem, they looked terrible back in the 1990s too), the performances are fortunately able to come through. He also has a great chemistry with the young lady playing Melanie.
Maybe there's a bit too much technobabble at moments, butI love this episode and it will make you want to go and see your dad.
Dammit, I just wanted to watch some science fiction. I didn't want to have to clean myself up off the floor with a mop... for 75 minutes!
(I now have more to say...)
Everyone else is going on about the child actor who plays Topa and Palicki playing Grayson. They made this episode, without a doubt.
But I want to draw more attention to Peter Macon's Bortus. The character's best episode and Macon's best acting ever in my opinion. Klyden finally shows up in season 3 only to fuck off in the very same episode! Hilarious. He wasn't badly acted, but he was more of a caricature than anything else. I get it, the episode needed him to be that way. But Bortus shows so many layers and emotional combinations. Multiple times throughout the episode I stopped sitting and watching and found myself standing and watching, and once holding my hand over my mouth and fighting back my own tears as a father. It hit so hard and so soundly, no once feeling forced or cringy or convenient to the plot. He was behaving like a real dad who had real desires and fears for his child. It's in this acting and getting to see these scenes play out on their own time that the show is partially forgiven for shamelessly running so gosh darn long!
Though I did get to the point where I was asking myself how many MORE addendums was this episode going to get? But, in the end, I'm glad that it went out the way it did. With a lot levity and positivity instead of that safe, diplomatic conclusion the Union brass felt tied to - which would have echoed the failure from the first season during the trial on Moclas. I'm also glad that Mercer and Grayson got chewed out for it. It would have felt fake if there was no repercussions. But because the fleet is at war, The Union can't afford to jail any command officers, and Moclas can't afford to lash out the way they'd like to either. That's definitely the only reason that Admiral was satisfied with her mere pound of flesh from each of them. And also why she was willing to admit that she was unofficially happy everything worked out in their favor.
Secondly, I want to draw attention to the actual footage from "About a Girl" from the first season used in the simulator. I don't know how they pulled this off, but the perfect editing required to make the new footage of Topa and Grayson blend in with something that was shot five years ago and not even look slightly uncanny is probably owed to the COVID downtime. Seth MacFarlane said that since they couldn't do any shooting or practical work, they kept refining the post-production of the episodes they were already working on while they waited for the all clear to go back to work. This has to be one of those episodes because I was looking for blurry lines and cuts in the footage or other strange artifacts that HAD to exist and it just looks like it was all shot at the same time in the same physical space. Bravo to the editing team, this is clearly your best work.
The previous episodes do have much better pacing (even Electric Sheep), no argument there. But this episode is of the storytelling caliber that Tom Hanks uses when he needs a few more Oscars to decorate his tenth mansion. The Orville set a new bar for themselves and for all modern science fiction with this story. Both in-universe and out-of-universe, this was a comeback victory several years in the making. It still blows me away that The Orville is both generously pulling from its own past to create new and continued stories while also being mature and reserved enough to not overdo it or wear out the gimmick. They (again) covered a topic of white-hot contention at one of the worst moments in American history to do so, and they did it with respect for themselves and for their viewers. And without a doubt the beaming approval of a particular Great Bird. Maybe Umbrella Academy (they kind of already are) or Doom Patrol could pull it off. I honestly don't know what else is on TV right now that could even reach such heights without a massive overhaul to their writing team.
(Obligatory remark about people who are repulsed (Klyden'd, if you will) by the topic of this episode needing to grow up and realize that they've only got so much time on this Earth to enjoy life and how they're currently, objectively failing to do so. And also morbidly curious as to why they're watching this show knowing full well what it is and then acting surprised that such topics are broached. And reminding them that if they hate this episode it's probably only going to get worse from their point of view - especially if this show is renewed for a fourth season.)
THIS is how you slowly build up your characters and world to a satisfying payoff. If you have an entire episode that takes place outside of the main universe and put all the main characters into completely different roles yet still manages to retain the core of the show and give viewers enough familiarity to hold onto, then you really do know how to write. Even if the series ends here, what a brilliant, intelligent, and enjoyable adventure The Orville is. Anyone still out there who looks at this show and thinks "Family Guy in space" is in crippling denial. This show is reaching Stargate levels of storytelling and character development now. What started as a chance foot in the door, to get the fleeting chance to stand in the shadows of science fiction giants has evolved into something that actually has the potential to be one of those giants some day.
For this episode in particular, what a delightful blend of TOS movie and Star Wars musical cues, the new ships and places that are a departure from the typical Union aesthetic, and the very best special effects I've seen on this show so far. Effects that are very detailed and eye-popping while still allowing everything to be well-lit and easy to follow. A very bold and dramatic way to cap off a season, especially the second season, and a very enigmatic ending that deliberately left threads hanging while still being satisfying and positive.
THIS show is the hopeful vision of the future we need right now. Not something that just reflects back what we currently are (because, let's face it, what we currently are is embarrassing), but one that shows up what we could be if we could stop resenting ourselves and each other for five freaking minutes. We'll always have our precious mistakes, our warts, our weirdness, but it's wrong to let those things define us. In the past, this kind of love and awareness came from a different show. A show that has sadly decided to move away from the wisdom of the human adventure. Now, thankfully, it's coming from this one. Hopefully, for a long time to come.
[4.4/10] Welcome to Filler: The Episode. What a waste. There is so much promising material in this one, so many things that could otherwise be really cool or interesting, but it gets pretty interminable at points and so on the nose and obvious and uncomfortable in places that the entire thing falls apart. Let’s talk about the three worst scenes of the episode, two of which should be the best scenes.
The first is the one where the Platonians screw with Kirk and Spock in order to try to get McCoy to agree to stay with them. It goes on forever. We get it -- these guys are cruel and will use torture and humiliation to get what they want. Having Kirk and Spock do fifteen different varieties of some horrible or embarrassing thing does nothing to drive that point home any more. It’s a big instance where it felt like this episode was running short, and this was an easy place to put padding.
The other side of the coin is that this should have been a highlight of the episode, and not just the ironic “this is garish, entertaining garbage” sense. Seeing dignified Captain Kirk and stoic Spock have to dance and play should be, alternatively, unnerving or fun. “Plato’s Stepchildren” never really hits either mark (though their initial little jig gets a bit of it). Instead, it’s all so over the top and lengthy that it robs the sequence of any power.
The second is the scene where Kirk, Spock, Bones, and Alexander (the little person “jester” of the other Platonians) come up with the scheme to give themselves the godlike powers. On a minor note, it opens up all sorts of plot hole problems when having telekinesis would be super useful down the line, but whatever. More importantly, it is just an unending scream of exposition and repetition. Again, the thrust of the scene is clear -- we can use this chemical to out-power the bad guys. It’s a little dumb, but it’s not the dumbest treknobabble solution to a problem these three have come up with.
The rub is that they explain it and explain it and then explain it again just to make sure you understand every niggling detail. The script is flabby as hell, robbing this big solution scene of having momentum because the show gets so bogged down in explication.
Then there’s the last sequence featuring the addition of Uhura and Nurse Chapel, which has a myriad of problems. Let’s get this part out of the way first -- this is another instance of Trek using something very rape-y as an incidental plot point, and not really having the facility or tone as a series to handle it. That’s a big problem and makes a lot of those closing scenes tough to watch (and not in the way the show intended). It’s a recurring issue on the show, which is troubling, but I try to make allowances for this just being one of those Sixties things that are a little horrifying now but were taken for granted at the time. It’s still pretty rough though.
(Though hey, credit where credit is due, the scene also includes the first interracial kiss on television, so there’s that.)
But even apart from the broader social issues that scene raises, it also doesn’t work for its intended purpose. It should be horrifying to watch people forced to be sexual with one another or torture one another against their will, and in different hands, you could explore that in a really interesting way. (See: Jessica Jones). Something like turning Nurse Chapel’s dreams of being with Spock into a nightmare because of the lack of consent could be a legitimately chilling and interesting thing to examine.
“Plato’s Stepchildren” just uses it for set dressing though, just something else that escalates the danger and shows the Platonians are bad guys. We already knew that, and it shortchanges the characters at the center of the sequence. Nevermind that the lines and acting are over the top and overdone, and again, go on forever, taking away and zip or poignancy that they might otherwise have.
Again, there’s some decent material buried within the episode. I love the character of Alexander. The actor gives a good performance, and there’s some real pathos to him, being made to think he is something lesser and subject to the whims of those around him. His desire not to become a god like the Platonians but just to be taken away from them, to be anything but them, is heart-rending. The show again lays it on too thick with his attempt on the Platonian leader and Kirk’s usual effort at speechifying at the end of the episode, but there is, as usual, the germ of something good.
There’s also the germ of something worthwhile in Bones having to choose between honoring Kirk’s wishes that he not give in to the Platonians demands and sparing his friends from their torture. The decision doesn’t carry the weight that it should because the “tortures” are all so miscalibrated, but it’s a legitimate idea.
It’s also really frustrating that the episode basically squanders getting Kirk and Spock to be able to sing and dance and do other goofy stuff. They could go really fun and bonkers with the whole thing (something the show’s done in prior “everyone’s acting funny for reasons beyond their control” episodes) but instead the results just feel like a bad local talent show. Nevermind the fact that the cast’s ability to successfully mime being pulled around via telekinesis varies widely throughout the episode.
The theme of “Plato’s Stepchildren” is clear -- even people supposedly devoted to classic philosophy and the mind can be corrupted by power -- Kirk and the Platonian leader basically announce as such at the end of the episode. But it’s a trite lesson, one Star Trek has hit several times before, and the buffoonery at the center and numerous, needless reaction shots all make “Plato” feel like a thirty minute story that left the producers stalling for time. There’s some good idea and good scenes, but for the most part, this one is a mess, and a plodding mess at that.
It's a very good episode but I wish it would have come at a later time. Maybe even next season. But with a fourth season still not confirmed and all but given I think they wanted to set some things straight.
At almost one and a half hours this is practically a double episode and I must say that this was the first time I thought it was a bit too long. The first half was OK. I was really dissapointed by Haveena's decisions. Her motives might've been honorable but I was totally with Ed when he told her what he thought about it. What follows was a predictable way the story unfolded. I'm not sure where they wanted to go with the hinted possible romance between Kelly and Bortus. Especially since they already threw a wrench in it at the end.
Everything really picks up at around the time when Gordon speaks up and calls out the Moclans for what they are. What follows are some powerfull scenes f.e. when Bortus adresses the Council as a father who's child has been abducted and tortured. Those were some hard to swallow scenes seeing Topa being tortured (kudos to Imani Pullum) and MacFarlane once again shows he's not shy to go there if it helps the plot. And I fully expected Bortus to turn around once again and kill the torturer but he didn't want his child to see him kill another.
We finally get the only logical conclusion that the Moclans are thrown out of the Union because everything else at this point would be a cheat. Going back to Gordon, I too am sick and tired of people doing bad things from a position of power and always getting away with it. (Take that sentence for what it is - I will not say anything more).
There is the surprise return of Clyden (I expected him back at some point but not so soon) but I think his change of heart is genuine and believable. Almost loosing your child can change your perspective. And he also makes peace with Kelly. Like I said - all this might've worked even better at some point in the future but who knows if there is one for the show. Now, with Clyden back that hinted thing between Bortus and Clyden makes even less sense.
And why haven't we learned about the "Traitor" on Moclus ? Is that supposed to be falling into background noise or will that be re-visited.
Couple of other notes:
Dolly Parton- it's amazing Seth pulled that of. In hindsight it seems like a given but I never would've thought she'd do it.
LaMarr's "Yeah, Sherlock" had me spill my drink. That was so delivered on point.
It's the character moments at the end that had me somewhere between smiling and, yes, tearing up. Any episode that achieves that is never a bad one in my book.
It happened again! While I remember that Kira and Shakaar get together, I have no memory of the specifics of it or this episode. So, this felt almost like a new DS9 episode to me. And while it's certainly got a lot of charm, it's not a classic by any means.
I think I quite appreciated that lack of science fiction here, this is just a quiet character piece about what it means to fall in love with someone who is not available to you, and I'm sure so many of us can relate to that. Odo is not used to any of this, so his reactions are almost childlike until he remembers himself and manages to pull things together very bravely (the fact that Worf does his job for him without him even realising seems to snap him back to reality somewhat). DS9 was a show that figured out its actors strengths and gave them material that would really work for them.
Interestingly, the big revelation here isn't Odo's confirmation of his feelings for Kira, but much moreso the feelings that Odo and Quark reveal for each other! I think these guys just genuinely love to hate each other and have a deep respect for the way the other person does things, however much they disagree with it. Those moments were the highlight of the episode for me.
The ending almost seems to suggest that Kira has figured out Odo's feelings, but that seems to be more my imagination.
At any rate, it is nice to see Kira so happy and I really love Worf and Odo bonding over their mutual desire for order. I think the real takeaway here, though, is the magnificent performance by Rene Auberjonois. Part of me wants to rate this much, much higher, but this is such a quiet and calm episode that it almost feels like it doesn't want to draw too much attention to itself.
How delightful it is to come across an episode of your favourite TV show that you had almost forgotten. As it went on, more of it came back to me, but at the start I really couldn't recall where it was all going.
Gul Dukat has been a presence on the show since the beginning, but he's slowly received more and more development over time. Despite previous episodes spent with him ('The Maquis', 'Defiant') which gave us titbits, this is probably one of the first truly deep dives into what makes him tick. A large reason for it feeling so much more satisfying here is because he's paired up with Kira, and the two of them together really bring out a more truthful side to both of them. For Dukat, family does really seem to be the most important thing (and family will heavily influence his actions later in the series), but you can't help but wonder how much he's really in it for himself.
The show has also gotten me invested in the relationship of these two due to how much we've learned about their backgrounds. By all rights, Kira and Dukat should more or less despise each other but they've both learned that things are never quite as clear cut as that. Kira certainly has more right to feel hatred but she knows that all Cardassians are not the same. The scene in which Dukat sits on a thorn (?) and they both end up laughing is genuinely great and beautifully natural. It occurred to me here that I really want these two characters to get along.
Things get much more serious towards the end as we learn that Dukat has a half-Bajoran daughter, Ziyal. This is one of my favourite plot points of the series, but it also had the added issue (as it went on) of making Dukat very sympathetic. Whether that's a good or bad thing is different for every viewer, but for me I think it's always amazing if you end up feeling something for the "bad" guy and is only a sign of good writing. For all that, it still feels like a mistake to trust him and you always get the feeling that he has something else going on, and that something is probably not good. His charm can make you forget that he's a mass murderer, and it's easy to be disarmed because he believes that what he did was right. Just one of the best characters in the entire franchise.
Apart from that, meeting the Breen for the first time is a bit underwhelming. The Sisko/Kassidy relationship is a pleasant background story, with the best scene being the informal chat with Jadzia and Julian. Sisko's admission to Kassidy about his fears is excellent, and it seems like their relationship is about to proceed to a deeper level.
A cosy episode that is a fantastic exploration of Jadzia and allows the cast to have fun by taking on different roles. We learn about all of the Dax hosts, and this works out quite nicely for me as I recently read the 'Lives of Dax' short story collection, so there was a lot of familiar stuff here.
But I do find this to be a bit of a missed opportunity. I really want to spend more time with each of the host personalities and am disappointed that we only get tiny glimpse of Lela, Tobin, etc. Cramming them all together in what is little more than a montage is a bit of a disservice and also spoils the pacing a bit. It's also weird the way the Leeta is shoehorned in as one of Dax's closest friends simply because they needed an extra person.
But Curzon/Odo is quite interesting to see and Rene Auberjoinois certainly puts in a great performance. He's almost upstaged by Joran/Sisko who goes super creepy. It's maybe a bit pantomime but Avery Brooks' quirky acting is nicely off kilter.
The background story also deserved more time. I really wanted to see the tests that Nog had to take (and his Starfleet desires haven't really been mentioned for a long while). I particularly loved how assertive Rom became when he figured out what his brother was doing.
There does seem to be a massive plot hole here for me, which has always bugged me: why doesn't Jadzia already know why Curzon denied her application, or that he was in love with her? She has ALL of his memories! That seems to be a big oversight in the writing department and ultimately ruins the entire central concept of the episode.
Side note: I have memories of this episode being advertised. When we first got Sky TV in the family home, DS9 season 3 was nearing the end of it's UK premiere run and this episodes had adverts all over Sky One, along with 'The Adversary' the next week.
