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Tears of the Prophets (Star Trek - Deep Space Nine episode production code 550) written by Ira Steven Behr & Hans Beimler directed by Allan Kroeker Well, the formula for last year's finale has been reproduced here with only a few alterations. Once more, we have an "everything" episode, touching on nearly every character and on-going plotline in play at this point in the series. In fact, the main A-plot has extremely similar visuals and tactics. This time it's the Cardassian/Dominion side that wants to deploy hundreds/thousands of tiny automated defense units across an area of space, while our Alpha Quadrant heroes seek to barge in and bust it all up. And perhaps a change to the script wasn't 100% thorough... Are our heroes charging off to Chintaka or Cardassia Prime? Much of the dialogue throughout doesn't seem as clear as it could be; I got the impression that the taking of Chintaka had somehow quickly led to boots on the ground on Cardassia Prime.... but they don't actually say "Prime". I guess "Cardassian soil" can mean any planet that Cardassians have laid claim to, including Chintaka. But despite such confusions, with the action being a less careful, less exciting repeat of last year's action, I think "Tears of the Prophets" is in general a better focused story. Most of the character bits make better sense and carry more weight. As for the Vic Fontaine scene, it's the episode's one total waste of time. I'm not enamoured with the style of music, the actual song is TOTALLY retarded, and Quark and Bashir's "problem" is completely out of place and has been far too belaboured in far too many season six episodes already. The only worthy bit there is the idea that Quark likes the place enough to maybe come back - okay as cross-cultural appreciation material goes. One of the items tackled here concerns a furthering of the mysteries of the Prophets, their emissary Sisko, and the unnamed Pagh Wraith influencing events here. This gives this year's finale a level of intrigue and pressing unanswered questions that we didn't really have in last year's finale. Good stuff. But, despite this being the 3rd or 4th time I had watched this (and at least 10 years since the last watch), the only event I remembered from this one was that spawned by Terry Farrell's failed negotiating tactics. This receives its due moments, but remains a small part of the episode. Try as I might, I couldn't remember what else this story was about, or what else happened in it, until I hauled it out and had another look. I guess that says something about its lasting impression. Yes, not bad. I guess by this point in DS9's run, episodes like this are only worthwhile if you really are going through the whole series, and you want to enjoy all the long-term developments as they unfold. It's not a piece that can make any particular sense as a one-off gem. This is for the die-hard viewers, and not bad at that. It leaves off in a strange place, where you know that next season has to be different in several key ways, ways that seem difficult to predict based solely on what you know about the show so far over its first six years. Roll on season seven.... Rankings for season six: Who Mourns For Morn? (Not only is this a perfect little mystery plot mostly played for laughs, but it's also a time to celebrate Morn: He's no longer quietly in the shadows as usual, but given as much of a spotlight as possible without breaking his style. What could be better?) The Magnificent Ferengi (For what this is, it ticks all its boxes correctly and pulls itself off flawlessly. The most thoroughly enjoyable hour I've had yet during my season 6 re-watch. And it had about as much high philosophy as I'd expect... just the right smidgeon of "Be Yourself".) The Reckoning (This one is a bit of a litmus test to see who can be mesmerized by a polarized spectacle and who can see through to true principles. It will test not only the characters, but also the viewers, and ultimately the writers. Many of our characters end up exhibiting different shades than those we might expect, and I'm surprised so few viewers see all the shades that I do. I won't pretend I liked absolutely everything in this episode, but it was one of the most fascinating TV hours I've spent with DS9 all season long...) Statistical Probabilities (a fascinating premise and a unique window onto the long-term situation. Although this one has the correct ending, which is a very useful message for our society, I think it loses some points for allowing Julian to push so hard in the wrong direction for such a lengthy stretch. The ultimate unreliability of their statistical projection's conclusion was a little too obvious... Ah well, it all still serves to make a worthy point in the end.) One Little Ship (a very good, classic sci-fi premise, triggering nostalgia for similar episodes even though this one is unique in its take on things. And in terms of the Dominion conflict, both sides play a smarter game in this episode, looking to discover or capture new technologies to add to their own. No downers or tragedies either. Nice one.) You Are Cordially Invited (Somehow enough of a fun factor permeates this one that it manages to conquer its all too prolific suffering scenes and leave one feeling thoroughly positive and triumphant. Worf and Dax did do much better than Rom and Leeta.) His Way (Though I'm no great fan of Vic Fontaine or his style of music, it's not hard to get past the first impression that some producers are perhaps being too self-indulgent here, because James Darren inhabits the character compellingly whether in song or out. This tale has its archetypal strengths in order, and stays out of any significant traps. In the end, it's a feel-good success, something DS9 often needs much more of.) Call to Arms (Big events impact every ongoing story thread on the series, plus optical shots galore ...and season six's opening six-part saga works best with a re-watch of this season five finale to kick things off right!) ["Favor the Bold" might go here if it was ranked individually.] A Time to Stand (This season 6 opener is a slower, more ponderous episode than the season 5 finale, which it depends upon narratively. After extending all existing plot threads indefinitely, this chapter gains a focus and a specific mission to accomplish. Again, it seems it's all about war tactics, but it remains entertaining and suitably polished at that. Hooks well into the next episode...) "Time's Orphan" (Though this has a flaw in its temporal theory, it still works extremely well at highlighting and frankly celebrating Chief O'Brien's family, both the core unit and the extended ensemble. Most enjoyable.) Inquisition (I was expecting lots of fast surprises, twists, and revelations in the story introducing Sloan and Section 31, but the actual episode turns out to be quite obvious and blunt. Too much talking instead of showing, and too much of the talking was just rehashing prior episodes. Plus, nothing was at stake other than Julian's choice of sides... No questions over the fate of a new planet or new set of characters only just appearing for this episode. Showing Julian [and the others] stuck in their quarters and bored - good formula for inducing the same feeling in your audience. So, okay, what the episode HAS got is all good and fine, but much less than we'd hoped for. The last 5 minutes were the most intriguing, and a good hook for the future.) Resurrection (Another annual chapter in the Mirror Universe saga... This one has an intriguing premise, and does well for most of its running-time, but ultimately it doesn't quite live up to its potential. Mostly pleasant, mostly harmless, not outstanding.) Tears of the Prophets (Slightly more focused than the other "everything" episodes of the season. Changes the landscape in several ways, thus we know next season is going to be different. But somehow, Terry Farrell's failed negotiating tactics forced the only event that I could still remember going back into this for the 3rd... 4th?... time, after many years.) Favor the Bold / Sacrifice of Angels (two more everything episodes. It seems every ongoing plot thread inches forward in this story, while none gain enough focus to claim the philosophical center of the adventure, which remains nebulous. Truthfully, I enjoyed most of this, right through and past the climax, until one gratuitous and unnecessary event post-climax dominated and spoiled the emotional tone of eveything else. The story's rank might be quite different but for this. It's odd how the DS9 writers insist on making even this most victorious segment of their arc tragic, snatching failure from the jaws of success. Why are they stuck on this? Have they been so badly programmed or controlled by their would-be masters? At least this one does move DS9's main story forward significantly, and with plenty of eye-candy optical shots. It remains a highly entertaining must-watch for those viewers who are going through all seven seasons.) Behind the Lines (This is one of the most difficult episodes to rank. While it finally begins to feel like we have an episode about something, with some true style and wit and excitement, it hits such a wrinkle near the end and makes such a bizarre left turn, we are left wondering... Well what of any significance are the writers really trying to say? Looking at this episode alone, it's easy to side with Kira's perspective, and believe the writers accomplish little more than toying with their audience. But though this isn't quite an "everything" episode, it probably makes its best case for what it's really all about in the context of the entire story of Deep Space Nine, up to and including the season seven finale. For now, let's just say that Odo's verbal attempt to understand his people and the link by talking to Salome Jens' character nicely fits the primary science fiction archetype of exploration and the Star Trek / IDIC concept of learning about other cultures. And maybe that should and does trump the war that all other characters [and most other writers] are much too obsessed with.) Sons and Daughters (A lukewarm outing of family members struggling to find out where they fit in the midst of crap politics. This has a good number of successful scenes and moments, but fitting-in itself is a bit of a canned arc, common for TV, and made less appealing when played out in the knife- and war-loving Klingon culture. The premise turns out half-decent but doesn't draw one in and through the drama. Not great, but more hopeful and fruitful than some other episodes.) Honor Among Thieves (a bit sordid. Although not completely unworthy of being about something for Star Trek, this one is not great. Meh.) Change of Heart (Though this started out fine and plays well, nicely focused on our regulars, it feels like the universe was contrived to force Worf to choose one thing and sacrifice another... which I view as dumbed-down writing that will not rank well with me. Find the smarts and cleverness to pull off a clean sweep, plus the wisdom to know to aim for such things, and it's a much more celebrated story in my book. Bashir and O'Brien's plot, meanwhile, was just a blah obvious failure. I had hoped Bashir was playing along with Quark's ruse as a counter-bluff; his actual lack of awareness [and presence of mopiness] did not make for great entertainment. DS9 needs to learn to WIN more!) Far Beyond the Stars (I found this very strange. There's some fun to be had watching the regular actors without the usual makeup and costumes, playing other people... but the new location, situation, and characters aren't particularly interesting to me, and this one stirs up old and/or artificially-generated race issues that are more effectively and smoothly conquered by the usual subtle stance in most other episodes of the franchise. This feels like a step backwards for Star Trek, both for the issue and for the "return to the drawing board" concept. As for restoring our hero's faith in himself, this doesn't have the power of "The Cage" or "Tapestry"; there just isn't any clear mechanism hooking the accomplishments of Sisko's dream [or lack thereof] into a fix for today's out-of-nowhere crisis in his real life.) Rocks and Shoals (This one starts off looking like a promising action show, but then it slows right down to examine the proverbial navel more closely. So, what does it want to say? Though it looks like it might be setting up to show some nugget of glorious philosophy, it merely digs into old ruts of betrayal and following orders. It becomes a mess of depressing imagery without a truly enlightened compass anywhere in it. It reminds one greatly of "The Ship" exactly one year ago, and is only slight improvement. At least it makes much use of a gorgeous location.) Valiant (Why does Ron Moore so love to write death and failure? This started out okay; I'm sure there were more interesting stories to tell using this set-up. Whatever happened to the message intended for Grand Nagus Zek? That mission seemed too important to get no mention after boarding the Valiant, and still no mention when Zek shows up next episode...) The Sound of Her Voice (This woman's constant babble was irritating! Then Ron Moore projected his inability to write well for Troi onto other characters' opinions, while doing much worse with his radio banter. Of course, it all has to be a mournful downer - I don't feel like I learned anything worthwhile about any other character through their chats with Lisa. The B-plot was less depressing, but showcased questionable values.) In the Pale Moonlight (What a load of crap! And who is credited for story here? Aha! Trust writer Peter Allan Fields to screw up every value and principle he can rope in, all to create more war. Star Trek is definitely subverted here. This is unhealthy for the psyche - advertising and encouraging acceptance of very poor moral judgments. Not recommended viewing. The only consolation is that it remains more watchable than the episodes following in this list.) Waltz (Yes, Dukat's halucinations are entertaining: often full of humour and irony and intrigue. But there's also a lot of pointless crap piling up in this one, before the huge letdown of the ending.) Wrongs Darker Than Death or Night (not entertaining, not enlightening, not worth repeating. Ignore and delete.) Profit and Lace (insanely, distastefully stupid. Total rock-bottom rank. Poor Sid landing this one to direct; it sealed its own fate the moment the script chose its aim.) Additional curiosity: In all of season six, there is not one single scene set in the Gamma Quadrant. We stay on the Alpha side of the wormhole, or inside the wormhole, the whole time. Interesting... Another curiosity is that so many Ron Moore scripts bombed this year, all getting lumped together near the bottom of my rankings. It's not really his skill at writing interesting scenes or good dialogue that is at issue, it's his fixation on dark, mournful subject matter and "down" endings that primarily did this, a trait that would eventually lead me to decide not to go anywhere near his re-vamped Battlestar Galactica after I saw its pilot story. "You Are Cordially Invited" was the only Ron Moore script from this season I felt good about (even though I noticed the same sufferage traits abound), because it *somehow* managed to leave me feeling really good about the episode as a whole, and I'm not sure 100% how. Perhaps the archetypal wedding template held good power, perhaps the comic timing of actors and director just worked too well, perhaps it knew just exactly what to do right for an ending.

Star Trek: Deep Space Nine Season Six (1997-1998): 26 episodes @ 43 minutes each. Get your copy of this 7-disc DVD set from the links below: DVD Extras include: Crew Dossier featurette: Julian Bashir Crew Dossier featurette: Quark "Far Beyond the Stars" in-depth episode featurette 24th Century Wedding featurette "Section 31" barely hidden featurettes DS9 Sketchbook - John Eaves Photo Gallery
DVD U.S.	DVD Canada	DVD U.K. slimline (regular)

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