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Star Trek: Deep Space Nine

“Melora”

2 stars.

Air date: 11/1/1993 Teleplay by Evan Carlos Somers and Steven Baum and Michael Piller & James Crocker Story by Evan Carlos Somers Directed by Winrich Kolbe

Review by Jamahl Epsicokhan

Review Text

Ensign Melora (Daphne Ashbrook), an Elysian woman confined to a wheelchair due to her homeworld's lower natural gravity, is temporarily assigned to DS9, bringing with her a chip on her shoulder and a defensive attitude that the fascinated Bashir instantly finds challenging. Meanwhile, and old "friend" that Quark testified against (Peter Crombie) and had sent to prison years ago comes to the station and threatens to kill the Ferengi barkeep.

"Melora" is another small DS9 drama about unique perspectives, but this episode doesn't really seem know what it wants to say. It merely rambles with dialog scenes that don't really have any long-term significance to Melora's situation—and Melora herself thus comes off as a severely undefined character. First the story makes Melora unlikable and closed-off (she wants to be completely independent and attacks anyone who tries to give her help), then it suddenly makes her open to possibilities when Bashir far-too-easily stumbles over a medical procedure that could allow her to walk in normal gravity—an idea that, dramatically, is both too obvious and doesn't offer any interesting insights.

What really hurts are two awkward, forced Runabout scenes. One involves Dax and Melora talking about "romance in Starfleet," which feels so oddly out of place and is directed with such uncertainty that the scene seems to belong in a soap opera. The other big mistake is the finale where the bad guy from the B-plot takes Melora, Quark, and Dax hostage in a Runabout, and is resolved with the corny idea of Melora disabling the gravity to subdue him. The best summary of this ending would be to take the word "clever," find a word that means the exact opposite, and apply it appropriately.

The episode isn't awful; some of the Bashir/Melora chemistry works, particularly the scene where Bashir deconstructs Melora's sarcastic defensiveness with equally pointed remarks. But proceed with caution—this episode doesn't end up saying much of anything.

Previous episode: Cardassians Next episode: Rules of Acquisition

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87 comments on this post.

I just recently watched Melora. It was an interesting concept, but they made a mess of it. I thought the wheelchair and the braces were anachronistic. By the 24th century, we could surely have a wheelchair which can go over obstacles, and some sort of suit which can aid in walking. That suit looked like something from the 1940's. And I can imagine someone being from a low gravity planet, but not THAT low, if gravity were as low as she was used to, her home planet couldn't even retain an atmosphere. But I can overlook those details. And Bashir being amazed at low gravity seems peculiar. We viewers might be amazed by low gravity, but people in star Fleet would be used to it. I agree, the episode doesn't seem to know what it wants to say. The part about where completing the therapy means you can never go home again seems to come out of nowhere. We seem to get nothing more out of this episode than "buildings should be wheelchair accessible", which is a good message, but hardly groundbreaking. But does accommodating people with handicaps end there? Why is a treatment that lets people walk unassisted a bad thing? That's the sort of thing we are supposed to expect from the future.

LastDawnOfMan

Agree that the doctor being so "amazed" by low gravity was just ludicrous. And the arbitrary restriction that the cure would not allow her to ever use low gravity again because it would "confuse her motor neurons" was just pitiful. Sounded like bad science out of the 19th century. This episode, where they can't even figure out how to make decent wheelchairs, or powered exoskeletons, really badly contrasts with later episodes, where they, for instance, know how to analyze and transport an entire universe. I mean, really? I think the idea for this character had a lot of potential, but why not think it through a little better? I would have liked to see her in future episodes had they worked her scenario out in halfway sane fashion.

my favorite part was when Bashir "Bashir deconstructs Melora's sarcastic defensiveness with equally pointed remarks" fun dialogue. the rest? meh.

Very sappy, but it could have been worse. I give it a "meh" rating. 4/10

Mediocre, but not as bad as I feared--just another example of the writers figuring out what worked on this show ('Vortex', 'Necessary Evil' and their ilk) and what didn't ('Q-Less', 'The Passenger', and this). Melora's character started out unbearable and turned out okay. The "handicapped person OF THE FUTURE" thing was heavy-handed and sappy, and Bashir found the cure way too easily. Basically, the characters kind of worked but the story didn't. It was too convenient and simplistic for a show like DS9, and nothing really meaningful was said. (Did anyone else notice that not even the writers could figure out why Melora survived a phaser shot to the chest? The best they could do was have Bashir speculate for one sentence about "neuro-stimulants." Groan. The more I think about this plot the more it's going to disintegrate. I'll just stop now.)

I normally skip this episode, but I watched it last night. We see anti-gravity trays carrying all kinds of stuff around in TOS, but she has to have a wheelchair? The can't create a suit that compensates for her? "Cardassian construction just isn't compatible"??? Really? No gravity plating/technology on DS9? or something mechanical that actually works? eeesssh.... In order to have less that "1" gravity, which is what DS9 would have, the biggest delta would be that one. Would she really be that tired by just standing up? She always seemed out of breath. While I think it's far stretched to conceive a planet that has "such low gravity", this is SCI-FI so, OK... I did enjoy Bashir putting her in her place with her constant jabs. Very appropriate but don't you think someone at the academy would have corrected that? She got to the point of whining and to Sisko to boot! She didn't want any help doing anything accept listening to her complaining that she didn't want any help. If I were Sisko, I would have sent her packing, or had her put her nose on the circle on the chalk board or something. Just seems convenient that our lover boy Doctor has to be the one to address that. I kind of like that this is a "Grass isn't always greener" episode. I thought there was good chemistry between Melora and Bashir and didn't find his medical discovery all that atrocious. What was the "B" story again? :-) 2 of 4 stars for me because I liked the Klingon "chef" :-) How hard can that job be? lol

This is a pretty dull and ponderous episode that try's to make some sort of ham fisted point about accepting handicapped people that would be fine in a 90's public service video but not Star Trek. Melora's predicament seems silly in the midst of all the medical marvels of the ST universe. The episode then degenerates further into a meaningless one off love story with her and Bashir. Melora herself is unbearable throughout, at first she's angry at everyone for no reason, then she's just a sappy love interest. Through all this we are slapped in the face by the script and told how awesome she is at everything lest we think all people with disabilities are meek and worthless.

I really, really, really HATE this episode, i found it insulting. It basically says that if you are disabled, you are not a person, you are a disable, and it's your disability that defines you, not your own personality, and that trying to cure that disability would be a bad thing, because you are "denying who you are". do I have to explain why this is bullshit? and the fact that this was written by a disabled writer makes me cringe even more. and then there's the little fact that the writer is "cheating": Melora isn't really disabled, she comes from a planet with a lower gravity (and can somebody please explain me how such planet would retain an atmosphere? but that's another story..) so in that context the whole "denying who you are" thing makes sense, buuuut the fact is that this episode wants to be a clear allegory for disability, so the writer wants to "cheat" us into thinking that makes sense in the context, while in the larger context (the one of the allegory) it really doesn't, because (and i feel bad for having to spell this out) a person is NOT defined by his/her ilnesses, try to exchange disability with AIDS and you'll get what i mean. and don't try to bullshit me: disability IS an illness. it's not homosexuality, which is something that somebody IS and it is part of his/her personality, and partly (key word being partly) defines who he/she is, disability is an illness, that in some cases can be cured even now (not to talk about the 24th century..), and i challenge you to find ANY wheelchair bound person who would turn away a cure for his/her disability because "that's what i am". and here's another problem with the writing of this episode, it's the 24th century, disability is gone, if you break your spine a quick travel to the infrmary and you'r good as new, but hey, we have to hammer on an half assed message about... something.. so let's make up a bullshit reason about her turning down the cure. i hate this episode

@Andrea - I think maybe you are giving the writers too much credit. I'm not sure this episode is an allegory for anything except having a bunch of ideas and nothing useful to do with them. Some background... Melora was originally supposed to be DS9's science officer. They had a character bio lying around collecting dust and decided to use it. While Melora clearly was an allegory for the struggle of dealing with a disability, she wasn't exactly disabled. They seemed to go from a story about overcoming disability to the little mermaid (they even cited in) in less than 30 minutes. So the writers had a cool character (she floats!!) with a chip on her shoulder from sort of being disabled and having people treat her poorly (even though none of our mains do) that of course our Doctor can melt in under 30 minutes (Trek lightspeed romance). He then finds a cure in minutes of looking and it switches to a little mermaid story. Oh and a Quark story is in there too. It was a mish-mash of ideas that were slopped together, not necessarily an offensive allegory. And as to your point about nobody ever turning down a cure, I will point out that some of the deaf community is against cochlear implants and this episode struck me a lot like that. Once you get one you gain some amount of functionality back from your disability but you can't exactly go home again.

This one was already done on TNG, and it was done a lot better. "Ethics", anyone? I do have to defend the weird suit that Melora wore to walk though, that's pretty much exactly what Worf was using and I find the idea that even in the future, there are still some medical problems we can't solve interesting.

This is one of the few shows that stunk from beginning to end.

It’s pretty bad on its own, but as an inspection of Bashir, it’s legit. And very sad, in a way. One thing that we learn over the course of the show is that Bashir is a profoundly lonely man. Oh, sure, if it isn’t screwed down, he’s the man to screw it, but as far as emotional intimacy goes, it’s not there for him. Part of that is the tinkering and puttering done to his brain, making him almost as smart as Cytherian Barclay; part of it is the arrogance that goes with the extreme intelligence. He doesn’t mean to push people away, but he does it nevertheless. So here’s Melora, who does the same thing for her own reasons. Bashir forges a connection with her because he recognizes that aspect of himself in her. And that’s how we get to Bashir’s first attempt to construct the perfect woman. (I don’t think his doormat Dax daydream counts, although Terry Farrell was quite hilarious in that role.) She’s got the moxie, the strength of character, but she needs the strength of body or it won’t work. So Bashir, possibly thinking, “Yes! This is my chance!”, tries to make Melora the woman he wants. When she turns down the treatments in the end, she’s effectively turning down Bashir as a potential mate, and that hurts. Over the course of the series, this aspect of Bashir’s personality will be revisited enough that the seed planted here is worth note, even though the episode on its own is mediocre. (Also, the B plot should either go away or be fully developed. The idea of Quark double-crossing a business partner and reaping as he’s sown is pretty great, but it’s given such minimal development here that they shouldn’t have bothered.)

Yanks said: "We see anti-gravity trays carrying all kinds of stuff around in TOS, but she has to have a wheelchair? The can't create a suit that compensates for her? "Cardassian construction just isn't compatible"??? Really? No gravity plating/technology on DS9? or something mechanical that actually works?" They did mention somewhere early in the episode that anti-grav technology doesn't work on Deep Space 9...something about the Cardassian construction.

They did mention somewhere early in the episode that anti-grav technology doesn't work on Deep Space 9...something about the Cardassian construction. ------ You mean something about lazy writing?

methane is right dlpb. BASHIR: Her normal anti-grav unit isn't going to work here. Same problem we had with the Starfleet cargo lifts. Cardassian construction just isn't compatible.

My point was that that is lazy writing. It's an excuse pushed in for no reason other than to explain something that is nonsense.

Although, to be fair, they had to be lazy there to make the story they wanted work. It can be forgiven.

"Melora," take one: The difficulties faced by, um, everyone when a disabled woman comes to use the non-accessible station, and her rough experience thusfar makes her misinterpret everything that everyone says as a mark against her. She swings wildly between HOW DARE YOU EXPECT THAT I NEED SPECIAL TREATMENT and YOU JUST TRY BEING IN THIS CHAIR THEN YOU'D UNDERSTAND, and comes across as passive-aggressive. Of course, Bashir is already smitten before she arrives, responding to Dax' comment that it sounds as if he already knows her with "I FEEL AS IF I ALREADY DO," arrogantly believing that having read a person's files allows him to peer into that person's soul. (Actually the teaser-setup is especially reminiscent of "Galaxy's Child," with Bashir as Geordi and Melora as Leah.) These two are at odds until the following exchange happens in Melora's quarters: BASHIR: Julian. I'm no longer your doctor. MELORA: I see. You've decided I need a friend. BASHIR: Was that an attack? You see, you do it so well, with such charm, it's hard to tell. MELORA: I really don't mean to -- BASHIR: Sure you do. MELORA: I beg your pardon? BASHIR: Of course, you mean to. All of these broad shots you fire it's your way of keeping the rest of the universe on the defensive. Has to be. You're too good at it. MELORA: Well, it always seemed to work pretty well. Until now. Ah. So, Julian is the first person ever to identify Melora's conversational pattern, and, as happens with all defensive people, the first time someone identifies that they are defensive, the defenses drop and they are primed to fall in love for the first time! No, that is not how this works. "Until now" presupposes both that Bashir is the first person *ever* to call Melora on her behaviour, or even to push back at all, and further her new openness to him implies that he really cut through years of personal barriers with one pointed remark. And, you know, no. In any case, the drama about a person dealing with accessibility, and the question of what she can/cannot do, sort of dissolves. This is a romance now. "Melora," take two: Now they go to dinner, and it turns out isolationist, angry Melora who keeps everyone at a distance speaks fluent Klingon and knows exactly how to argue her way into getting quality racht. The Klingon restauranteur laughs and they share a knowing smile and rapport. It's not even that Melora's aggressive arguing with the Klingon is an extension of her prickliness in act one, which endeared her (deliberately) to no one, it actually comes across as a practiced, carefully honed ability to negotiate with Klingons. The main function here is to undermine Bashir's conception of Melora as "wheelchair lady," for him to start thinking of her as an exceptional person in her own right rather than being defined as her own person, and I do think her having very specific individualized interests fits with this -- but her cosmopolitanism does rather run counter to her entire personality as established up to this point, which the episode was fairly careful to establish is how she acts all the time. Time for her to show him her world! OK so it's been established that she comes from a low-gravity planet, which is why she has weaker muscles than the class-M humanoids and has trouble with Earth-style gravity. Fine. Which means that in her quarters, designed presumably to emulate her home planet, it should be about half gravity and she should be walking around norm -- NOPE SHE FLOATS AROUND IN ZERO-G. Wait, so, why does she not ever want to experience her own planet's gravity in her inner sanctum, rather than the artificial zero-g? Or is her planet actually, like, near zero gravity, and everyone...floats around until they float off into space? What? And Melora and Bashir seem to have equal strength in zero-g. Bashir, a Starfleet officer going out into space, has never been in zero-g? What if he has to perform surgery and the gravity goes out? The "low-gravity planet" thing started as an excuse to do a show about disabilities from a Space perspective. The problem is that there is no "planet of disabled people," but, fine -- until they disregard the premise they've established. Anyway, one way to interpret things, though, is that Melora is a somewhat prickly woman with some significant impairments that make it hard for her to function on others' terms, but she has a rich, complex inner life which she largely does not let others into. In this sense, the Melora story is basically similar to Sarina's in "Chrysalis." So she is maybe something like an autism-spectrum person, ill suited in some senses to traditional interactions but still capable, and coming fully into her own in her own space. That's interesting, if a bit at odds with the wheelchair-WHY IS THE STATION NOT MORE ACCESSIBLE very clearly physical-disability-focused stuff. But okay. But CAN PEOPLE FROM TWO DIFFERENT WORLDS MAKE IT WORK? Dax's answer: maybe! Anyway, of course, Bashir dates a woman for like two minutes before he decides he can change her into a completely different person, which leads us to: "Melora," phase three: CAN MELORA BE CURED? It is pretty funny that the reaction everyone has to Melora walking on the bridge and handing her report to Sisko is excited back-patting for Bashir along with comments about how this project of his will earn him some great papers in prestigious journals. I may give her flak, but Melora's concern that people look at her and only see her Otherness/"disability" seem pretty accurate. Anyway, in this section Bashir cures her life-long genetic condition in ten minutes, but then does Melora really want to be "cured"? Because, you know, disability blah blah but isn't she denying who she is if she gets out of the chair and -- stop. The episode's radical course-corrections really do feel odd, because, yes, it is true that the episode sets up the Bashir/Melora romance early on, and it is plausible that Bashir might work on "the Melora problem," and so it's not as if they are completely disjoint. But there are such huge shifts in tone and personalities of the players that the episode can never gain full focus. Bashir was attracted to Melora specifically because she could show him how to fly, which makes little sense but let's go with it, and so he knows he is depriving her of that, but only half-registers it. Didn't Bashir say he's her friend, not her doctor? What exactly is it that Bashir and Melora have to build a romance on, when they stop interacting except as doctor-patient soon? Is the issue of accessibility of the station, and how people treat the disabled, still on the table or is it gone? Anyway, as a physical disability metaphor, the idea that she must give up zero-g flying and ever visiting her family for an extended period again pretty much trashes real-world counterparts. Maybe one could argue that a deaf person regaining their hearing fully might lose touch with the deaf community and so lose something fundamental, and certainly "curing" *psychological* "disabilities" is tricky business. It may be that the often-present trope of the person with physical impairments not wanting those impairments to be cured magically does have particular resonance and means something, so I don't want to dismiss it entirely. But, you know, if being in a wheelchair is part of who someone is, that is *still* not the same as Melora's home-planet/family issue. Also, like, exactly how cumbersome is her antigrav equipment that works literally everywhere except DS9 and apparently the Runabouts? That's an important question because Melora's probably only going to be here for a week, "Mapping the Gamma Quadrant" or no. What is interesting about this is what the Melora problem says about Bashir -- he falls for her because of her determination and then her openness to experience and her rich internal life, then finally settles on totally fixing her/rebuilding her from the ground up. The mixture of affection for who she is and desire to remake her into who he thinks she should be gets repeated in "Chrysalis," which by hitting on a better metaphor (the genetically engineered-autistic thing) manages to suck less (though I don't think it's a good episode). And I guess, to get into extra spoilery territory, in a lot of ways these go beyond just immature male romantic worship issues and into something specific to the formative event of Bashir's life. In this episode he talks about the time where he saw a woman dying and found out he *could* have saved her, and that no doubt is part of his zeal to solve all problems when they appear. But I think the reveal that he was genetically engineered does explain some of his behaviour. Jules Bashir was "defective," and out of "love" (?) his parents "fixed" him. As long as Bashir keeps that secret close to his chest and also remains grateful for it, he must believe that the truest act of love is to "fix" people. There's an inability to leave well enough alone that comes down, in part, to his own feelings of inadequacy as the guy he was before his IQ was tripled. So that's interesting in retrospect -- but it hardly comes out much here. And so Melora decides, ultimately, that she is going to stop the treatments, because The Little Mermaid. But wait! "Melora," take four: HOSTAGE CRISIS! Angry guy shoots Melora for some reason, because he's mad at Quark, etc., I can't be bothered to focus on this much. She's dead! Wait, she's not dead, because the treatment saved her, which, uh, I guess it is good that she got those treatments, right? Or, wait, does that *mean* anything or is that a pure plot contrivance to wring small amounts of excitement in a flagging script? And then Melora gets the big heroic moment of, ha ha ha, turning off the gravity and then, like, ramming into the guy, because, you know, that is not going to look ridiculous and also make the guy seem really pathetic and thus everyone else look awful for not being able to stop him. It is not so much that Melora *couldn't* use her skill set to her advantage, but the way it happens is so silly in look that it's hard to deal with. And on a matter of teleplay construction: if you are going to have Melora save her day with her (still wrong, because her planet was low gravity and she should be able to walk in low gravity rather than fly in zero-gravity which anyone can do anyway but I digress) zero-g skills, thus proving that it's best to have a physical impairment, shouldn't that be the climax of the personal plotline as well -- i.e., shouldn't Melora have realized at *that point* that she absolutely needed to "stay true to herself" or whatever, rather than a few minutes before so that this whole unfortunate incident could be excised entirely? I mean, it's not that I require strict adherence to teleplay structure but it usually is best to break it only for a good reason, and this episode is already doing badly. Anyway now that Melora has decided not to get any more treatments, the show is over, because, you know, those other parts about the difficulty of Starfleet romances and the Bashir/Melora love connection and also accessibility issues are no longer relevant. The episode ends without so much as a postscript that she's never coming back, though we maybe could have expected that. I really have next to nothing to say about the Quark subplot; it is largely somewhat painful until it intersects with the Melora plot, until it becomes *very* painful. 1 star.

Interestingly, they would use this concept of unwieldy assistive technology in a more mocking sense with the Doctor's mobile emitter backpack contraption in Author, Author's "Photons, Be Free". Sadly, it was more effective there.

Teaser : **, 5% So, those Cardassian “incompatibilities” with Starfleet's antigrav tech have created a dilemma for a new officer about to be stationed at DS9. The officer, Ensign Melora Pazlar, is severely immobilised due to the relative strong gravity on the station. This issue raises a few technical nitpicks which should be gotten out of the way. First, shouldn't the gravitational stress on Melora's circulatory system and vital organs be of some concern? If the gravity is so strong that her voluntary skeletal muscles can't get stand her up straight, how in the world can her heart pump blood to her brain? Second, so is every M-class planet the same size and shape as Earth or do all aliens just put up with a higher or lower gravity when on Federation starbases/ships? Best not to burrow too far down that rabbit hole I suppose. On the other hand, there is a subtle touch that I do like about this situation: Cardassian technology does not make accommodation for the disabled, just as I imagine Cardassian society does not either. Anyway, Bashir has apparently studied up on her (in his typically creepy fashion) in his preparation for her medial needs. The remainder of the teaser establishes two things: Melora is kind of a bitch (“chip on her shoulder” is a little more generous) and portraying practical technology in futuristic settings is dangerous. Melora's wheelchair is as advanced a wheelchair I have ever seen...in 1993. Next to technology which warps the fabric of reality, dematerialises whole people safely and creates objects (including, ironically, this very chair) out of thin air, the device really feels like a prop instead of a part of the Universe we're observing. Act 1 : ***, 17% Plot B: A Yuridian customer of Quark's buys a lost relic from the barkeep (nice to see him in action again). Interrupting Quark's capitalistic exploits is a menacing visitor with one of those impractical nose prosthetics who announces he's come to kill Quark. Of note here is an above-average musical score, unafraid to delve a bit into the emotional depth of the scene. Very welcome. Plot A : Melora is introduced to Sisko. The camera chooses to make the most of the height differentials between the chaired ensign and her upright superior. She brings up the “Melora problem,” indicating she has a history of being defensive about her “condition.” In Melora's quarters, Bashir picks up a photo of her and a man, and if you look, indeed it's a photo of them *flying in the clouds.* So sorry, William B., apparently that is exactly what her planet is like. It's damned stupid from a scientific perspective, but I'm willing (at this point) to be generous and point to the Little Mermaid source material as a justification for this idea—Elysians “swim” around their planet like fish in the sea, not to mention Elysium is the Greek equivalent of heaven, free and wistful fields of paradise. I'm glad that Bashir calls out Melora's bullshit early on rather than forcing us to endure it for a few acts. I'm actually going to disagree somewhat with my esteemed colleague, William B., regarding the conceit that Bashir was the first person to notice her behaviour. I don't think that is what we are to infer here; I think rather that Bashir's attraction to her (based on a genuine psychological predisposition which you elaborated on) supersedes the more common “I won't insult you because you're in a wheelchair and I feel sorry for you” reaction that most people exhibit. Calling out someone's bullshit is a sign of emotional investment, something it seems clear that Melora has been very careful to avoid. Alternately, her line “it's always seemed to work...until now,” doesn't need to be taken at face value. It's entirely possible if not probable that she says this on purpose, because the attraction to Bashir is mutual. It's a very classic flirtation tactic, really. Act 2 : ***, 17% Plot B : Quark lays out a table for his would-be assassin in an attempt to mollify (his word) him. That's pretty much it. Plot A : Bashir takes Melora to the new Klingon restaurant so we can get that painful scene where Melora tries to impress us by how many times she can roll her 'r's. I don't have much to add to what's been said already other than to point out that the restaurant's only adornment is a giant symbol of the Klingon Empire. In other words, this is the Klingon equivalent of one of those restaurants whose primary decoration is an overstated and garish American flag. Make of that what you will. Retcon notice : Bashir mentions that his father had been a Federation diplomat, which, if I'm not mistaken flies directly in the face of “Doctor Bashir, I presume.” Oh my god, bad continuity! Call the media! Anyway, Bashir shares a little of his backstory and, feeling feelings, Melora calls it a night. Melora has a little accident, prompted by her own unwillingness to be dependent. Intellectually, I realise that a lot of this “we must depend on each other” stuff is pretty shallow, but Ashbrook and Siddig do a very good job at making this all seem very human and gentle. The chemistry they demonstrate (not easy for a guest character) warms up and shapes the straight-forward philosophical issues to make them palatable. William B. is completely right that no Starfleet officer should be “astonished” by the feeling of zero g, but again, I'm generally moved by three things, the convincing acting, the stylish cinematography and the invested score. Melora chooses this moment to point out that her fellow merman in the photo is her brother and she and Bashir share a first kiss. Act 3 : **.5, 17% I feel really guilty disagreeing so often with William B in this review, but this seems like the right spot to address Melora's cosmopolitanism. It seems very clear to me that her borderline savant-like knowledge of other cultures is a natural characteristic of someone who is very intelligent but socially isolated. I do object to the ease with which she bartered with the restauranteur because knowledge of a thing is no the same as practice, but it makes sense that she would fill the void in her life left by a lack of personal relationships with many hobbies and interests. The runabout scene with Dax and Melora is actually pretty okay; nothing groundbreaking, but Ferrell does an unusually good job at balancing her “I've been alive for 7 lifetimes” with “I'm a goofy party girl” shtick. Typically in Trek romances, the romance itself feels incredibly rushed because it's squeezed into the space of a 45-minute TV show with ray guns, and here is no different, except that a rushed, exceedingly premature assessment of romantic feelings actually fits in perfectly with these characters. Both Melora and Bashir are socially awkward, brilliant and naïve. The story has cleverly taken an inherent weakness in Trek tropes and carefully adapted it to serve a particular narrative by being very wise about its character interplay. Kudos. Plot B : Quark reports his assassin to Odo (what's his name? Phallic Cock? eesh), who knows all he needs to know about how Quark sold the man out for his freedom, even if “justice was served.” This plot maybe going nowhere, but best exchange of the episode has to be: QUARK : He threatened to kill me! ODO : [bemused smile] QUARK : What? ODO : Nothing. Just a passing thought. QUARK : Odo he means it!...You've got to do something. ODO : I'll do my job, Quark...unfortunately. Plot A : Regarding Bashir's 10-minute “cure,” it should be borne in mind that Melora is the only Elysian in Starfleet. Bashir says he simply dusted off an old theory from 30 years prior that probably just didn't hold interest for any medical researchers until this situation. It's a little flimsy, but not unreasonable. Melora is delighted at the prospect of shedding her prosthetics (aren't we all) and chair. Act 4 : **, 17% Plot B : Phallic Cock is brought in for questioning by Odo. Bearing in mind I'm writing this during 2015, when the scandal of police brutality and other social relics from the Bush/Clinton era of crime-crackdown is of primary focus in the USA, I have to say that Odo's remark, “you can tell a man's intentions by the way he walks,” to be very unnerving. Then again his hilarious line to Quark, “You people sell pieces of yourself after your dead...I'll buy one,” to mitigate this well enough. Plot A : Julian is technobabbling his freaking ass off and has bestowed on Melora her first treatment, allowing her to move just a little bit. Music swells, closeup on Melora's smile. And jumpcut to Sisko, “How's the upgrade coming?” Very clever, Mr Somers. Very clever. Mobile Melora steps onto the bridge and she is immediately treated like an object of curiosity and speculation—again. This is where the episode begins to sink a bit...we can already tell where this is heading. They may have been able to mitigate the romance cliché thus far, but one can already see the obligatory breakup being built. Plot B : Phallic Cock ambushes Quark to kill him and Quark actually manages to save himself by promising to pay “199 bars of gold-pressed latinum.” Eh...this completely undermines what made the assassin at all interesting. That he can be bribed out of his revenge is really disappointing. Act 5 : *.5, 17% Bashir is continuing the treatments on Melora. To his credit, the moment she expresses any doubt about her treatment, he immediately tries to understand and discuss her concerns, like a good doctor should. Back to the runabout for girlchat round 2: mythology trumps science again, I'm afraid. Melora apparently can't return to her home planet after she's treated which makes no sense at all, since Bashir was perfectly capable of flying around with her in her quarters, but like Dax says, “The Little Mermaid.” This will unfortunately be the episode's ultimate undoing, I'm afraid. Plot B & A : Quark introduces Phallic Cock to his Yuridian friend who gets himself shot. On the way the plots collide. PC takes Quark, Dax and Melora hostage on a runabout and kills Melora to “make himself clear” to Sisko that he isn't fucking around. Sisko and co. follow them through the wormhole and ensue chase. Meanwhile, Melora wakes up...and shuts off the gravity so she get the jump on Phallic Cock and save the day. Horray? So, as expected, Melora decides not to go through the treatments because she “wouldn't be Elaysian anymore.” So, if an Elaysian were born unable to fly around due to an actual disability, would he or she also not be Elaysian. What a crap ending. Oh and pile on that Klingon serenade which comes out of nowhere...Ach, get me out of here! Episode as Functionary : **, 10% “The little mermaid parted the purple curtains of the tent and saw the beautiful bride asleep with her head on the Prince's breast. The mermaid bent down and kissed his shapely forehead. She looked at the sky, fast reddening for the break of day. She looked at the sharp knife and again turned her eyes toward the Prince, who in his sleep murmured the name of his bride. His thoughts were all for her, and the knife blade trembled in the mermaid's hand. But then she flung it from her, far out over the waves. Where it fell the waves were red, as if bubbles of blood seethed in the water. With eyes already glazing she looked once more at the Prince, hurled herself over the bulwarks into the sea, and felt her body dissolve in foam.” If the writers had had a little more courage we could have had this ending, a real ending wherein Melora kills herself for the sake of her Prince (Bashir). Alas, they chickened out and gave us this vague Deus ex Machina with her treatments somehow making her phaser-proof. Up until the ending I was enjoying “Melora,” but it totally falls on its face, abandons its mythical origins, abandons its social commentary, abandons its intrigue with the B plot, abandons the surprisingly successful romance. Everything just jumps ship and dissolves into seafoam... Final Score : **.5

@Elliott, well, I may have had my own Melora-esque chip on my shoulder when I wrote about that episode. I suppose that picture demonstrates that Melora is supposed to be able to fly on her own planet -- and that this is the mythological background. This is all still very weird and crazy, because the whole idea is that her planet has LOW gravity led to her having, you know, humanoid limbs for walking which are too weak for Earth-style gravity, which goes against the whole zero-g thing in her quarters, and why -- well, okay, I'll stop. This still runs weird interference with the disability story. It was her easy rapport with the Klingon restauranteur more so than her knowledge of different cultures that bothered me. Her social isolation leading to her having very particular tastes in alien composers and Klingon *food*, and even knowing Klingon language, is one thing, but there is something so easy and casual about her interaction with the restauranteur that really does suggest that she has near-magic ability to deal with others socially, which is absent the rest of the time. It bothers me a little because it did feel like the teleplay was stitched together -- and we end with the Klingon serenade because that's how close she is with the restauranteur. However, there are lots of people who deal with social isolation or difference by cultivating certain personality traits and not others -- like she's akin to the precocious child who can wow adults but struggles with connecting to other children. (Wesley, basically.) Viewing things as more purely metaphorical, the Little Mermaid stuff sort of works, and especially if we view her zero-g chamber as her ultra-introverted inner life, which she lets Bashir into, and Bashir's excitement at being granted entry into her private life naturally leads to him trying to change her entirely -- which, yes, socially isolated brilliant scientists, likely autism spectrum. That being the case, the episode does have a lot going for it, except that the wires get so *very* crossed because of the several different contradictory stories the episode is telling. For what it's worth, this is a much better Bashir story than The Passenger, which amounted to nothing, and this does tell us a fair amount about how he thinks, even if it doesn't really gel here. I guess 1 star was pretty harsh, when the episode is more like a confused but well-intentioned and interesting episode like The Outcast than a plodding waste of time like If Wishes Were Horses.

Diamond Dave

This doesn't work too badly as an 'issue' episode for a while, and I guess Melora is set up as an unsympathetic character earlier on to add weight to her opening up to Bashir. Indeed, this might be the first time we really start to see Bashir as an emerging character - the scene where he calls out Melora on her attitude issues is pitch perfect. Unfortunately the B-story is eminently forgettable, aside from some quality Odo/Quark interaction, and the melding of the two stories at the end seems like the result of some lazy plotting. Liked the Klingon restaurant though. 2.5 stars.

Asks for no special treatment, to the point of arrogance and annoyance. Then asks for special treatment to use a runabout alone. Idiot.

What is love? I'm no ladies man myself but I've always thought that it's quite possibly the most complex emotion/situation a person can ever experience. Well, apparently it's not. It's nothing more than simple infatuation which can completely run its course within forty-eight hours. I do not like romance-of-the-week stories. Every once in a blue moon one can be good (TNG: "Lessons" was okay) but most are just bad. "Melora" is easily one of the worst offenders. So, since they apparently still had absolutely no idea what to do with Bashir's character they just decided to throw a little romance in his direction instead of actually doing something with him. Not only is that a complete waste of Bashir, it also shows a complete lack of understanding of what love actually is. If they had attempted to say that Bashir and Melora were just infatuated with each other it could have worked. But, nope. We're honestly supposed to believe they're in love. She shows up to the station, has dinner with Bashir that very night (with some rather unpleasant undertones of Bashir falling for a woman he has never met - a la LaForge), has zero-G sex with him the next day and is instantly in love. Then they're completely fine with ending it all a few days later because.... that's what true love is? (As an aside, Bashir's dopey fascination with the low gravity environment is stupid. It's nice to know that Starfleet doesn't have its doctors go through zero-G training. Because, you know, who would ever need medical attention in zero-G.... in space?) Most gulling, for me anyway, is the first scene between Melora and Dax in the runabout. They go on for what seems like forever about romance in Starfleet and long-distance relationships yet never once bring up a rather obvious choice - how about one of you sacrifice your damn career! Of course, we can't bring that up on Trek, can we?! Every time we even get close to the subject the character's career always takes precedence. The O'Briens are the closest we get to the issue, ever, and even then neither one has to give up the career since Keiko eventually continues hers on Bajor. God, this drives me crazy! It would be perfectly acceptable for Melora (or Bashir for that matter!) to give up Starfleet for the relationship. But, apparently, the writers can't grasp the concept that a career isn't the 100% entirety of a person's life. Then there's the attempt at social commentary involving disabled people which just falls flat on its face. For someone who doesn't want any special treatment due to her disability, Melora sure spends a lot of time requesting special treatment. But never mind that. The important thing is - what is the message, ultimately? That disabled people shouldn't be focused on due to their disability? That we should treat them like anybody else? Well, if that's the case, maybe it would help if the episode didn't focus so much on the fact that she's in a wheelchair. This isn't a story about a person who just happens to be in a wheelchair. The fact that she's in a wheelchair is the single most essential element of her character. Well done! It's always nice to see a rather worthy message completely flushed down the toilet by the execution. Oh, and there's also a B-plot involving some guy who has an evolutionarily impossible appendage over his mouth (seriously, how could a species evolve like that?!) who wants to kill Quark. It goes nowhere and does nothing (aside from a momentary laugh from Odo) until it literally head-butts itself into the A-plot. At that point, as William B said, it goes from painful to very painful. The less said about it the better. DS9 had been doing so well since "Duet". But, sadly, it looks like that narrative strength finally ran out. 1/10

RandomThoughts

Hello Gentle Sentients! I recall that Melora was supposed to be a regular on the series (I'd even seen a very, very early shot that had included her in it, maybe in Star Trek magazine), and was initially glad they were allowing her to have her moment, since it was sort of pulled out from under her. And then I watched the episode... If this is what we would have come to expect from the character, I'm glad they ejected her out into space (okay, maybe she left on a ship, but I've always wondered). For me, this is the definition of a bad, one-star episode (as opposed to the fun, stupid one-star ones that I might still watch sometimes). Have a great day... RT

Personally preferred this episode over invasive procedures two episodes back. At least with this episode i kind of could give a damn about the characters in the main plot. I couldnt care less two episodes back.

Came here just to say that this character was annoying AF.

Bashir is 1) a creep, and 2) an unethical/unprofessional doctor. Did they base his character on the doc from "The Love Boat?"

grumpy_otter

I actually enjoyed this while watching--it was only at the end when I questioned it. I kept thinking I knew what direction the episode was going to go and it kept surprising me, so I didn't mind it. Yeah, it was stupid for all the reasons above, but I liked the chemistry with Melora and the Doctor. (I initially thought she was going to drop him flat after she was strong) But who the hell came up with that idiotic alien nose thingie? How would eveolution EVER come up with something that blocks the mouth? Good lord. The B-plot really sucked--mainly because I knew Quark was never in any danger--but it sucked balls because of that stupid alien face.

i liked this episode because bashir finally gets some *ussy (anti-grav style no less!!!!)

At this point in time, pre-Discovery and including the Animated Series, with the reboot movies tacked on at the end, going chronologically this episode is halfway through all Star Trek on film. So at least it has that going for it. For now.

Extremely mediocre episode. What bothered me endlessly was how Melora's borderline insubordination in the beginning is never even commented upon. I know Starfleet isn't strictly military, but an ensign being rude and even hostile to superior officers without anyone even saying something?

James Alexander

to be honest I don't see the point of this episode. it could have been used to introduce a new character but Melora wouldn't appear again until the Star Trek Titan novels, could have been an opportunity to talk about disabilities and overcoming challenges but didn't really go for that angle, and overall it was very very boring. the only scene that really stuck out to me was when Melora got rid of her equipment and was floating around in her quarters, but that got used for a really sappy scene with Doctor Bashir. seriously, I thought that should have been really cool but it just wasn't. and Bashir didn't come out of this looking too good either. the writers made him fall in love with his patient in the space of an hour, which didn't give it the sense of emotional impact, that it could have had if they built up the romance as a subplot through the season. not to mention that Melora came off as way too vulnerable, which in turn made Bashir seem like he was preying on her. as for the gear that Melora was dragging around , surely we would have advanced past that by the 2370s. nearly four hundred years into the future and we're giving people leg braces and really heavy wheelchairs. come on, think of more advanced stuff, even in the minor details. surely she'd have an anti-gravity floating wheelchair like Professor Xavier seeing as this is the 24th century. hell, Bashir could invent something for her as a way to show off.

Gooz, I would say that Bashir came off that creepy because Melora wasn't written strongly enough. she got turned into this really vulnerable, almost helpless, character, just sitting around and waiting for the good doctor to make it all better. if she'd been written with more strength and could actually look after herself, Bashir might not come across as a complete creep any more.

Boring, meaningless episode -- easily the worst of DS9 S2 so far. The "action" part is among the worst in Trek when the 2 subplots connect in the hostage escape scene. And the Melora character is a confusing mess. Bashir's a strange dude as well -- his attraction for Melora doesn't seem to come about logically and even if they somehow have a bit of chemistry, it has no payoff. Was this supposed to be a mainly romantic episode or something else? Not clear. I thought this might be some examination of the problems a handicapped person faces -- resenting others for trying to be excessively helpful or something like that. Melora was annoying initially and then flicks a switch (Bashir's interest in her) and becomes tolerable. Bashir comes up with some cure to allow her to walk normally (eventually) -- this happens too easily and quickly for me and then we go through Melora's wishy-washy bit about the tradeoffs of keeping with the treatment. I will say that the bit about reduced gravity was nice to see and I'm surprised it isn't used that frequently on Trek. Here's one species (Melora's) that is all about reduced gravity. I think reduced gravity is used more in the movies (bigger budgets) where damage can cause the gravity plating to fail, but it doesn't happen enough in the TV series and that's a tad unrealistic, for me. The B-plot with Quark and his former associate was lame. The guy says he's going to kill Quark -- and given that it's believable, isn't that worthy of some punishment or detention? Odo, whatever he thinks of Quark and his activities, doesn't do his job here. The 2 plots -- completely independent -- then meet near the end in this lame hostage scene and Melora gets phasered but survives due to Bashir's treatment and uses reduced gravity to subdue Quark's "buddy". Very lame stuff that is hard to believe. Barely 1.5 stars for "Melora" -- overwhelming feeling is that this was a waste of an hour. Slow, boring -- could have done much more with the handicap issue and trying to make a career in Star FLeet. Bashir, other than his dealings with Garak, is a weird/uninteresting character so far. Quark's situation just lacked tension. Overall, 2 weak subplots that got weaker when they intersected.

Fallit Kot's "nose" was just plain unrealistic. Why would evolution OR intelligent design prefer such an obstacle of own's mouth? Seemd to me like a mistake of the make-up-department - or an elaborate joke on their part. Somehow it made Fallit Kot even more devious.

This episode gets alot of hate, but I thought it was a pretty good slice-of-life episode, providing you ignore its contrived "action climax" (why aren't Trek writers ever confident enough to focus on simple, mundane plots. Not everything need be a dramatic crisis!) . Anyway, there's some style here, some good zero gravity sequences, and Sisko gets a couple nice scenes (the way he handles the disabled guest star is quite original). Unlike Jammer, I also liked the Dax/Melora runabout scenes, but then I pretty much like anything Dax does. And of course this is the episode where the KLINGON CHEF!!!! is introduced. I wish he appeared in more episodes.

Intrinsic Random Event

Wasn't much into this episode, though it did make me think that Starfleet would have had to alter their academy requirements for all sorts of different beings, and we seldom get an insight into that. But overall it was worth the sit-through to see the Klingon chef!! Kinda like the Swedish chef... but far less Swedish... I really would like to see a Klingon Iron-Chef competition, that would be brutal.

Star Trek romance episodes live or die on the strength of the chemistry between the two actors. Unfortunately for "Melora", Bashir and Melora don't have enough to justify this waste of an hour. 1 star.

Klingon chef, Sisko's interactions with Melora, and Odo's smile when he pictured Quark meeting his demise were definitely the highlights for me in this episode. The rest of it felt awkward and even forced at times. Two stars is about right.

Kinda silly, especially the girl talk on the runabout. Very light fare.

I liked this episode more than a lot of other people it seems. I found the questions it throws up about inter-species romance really interesting, and having more depth and complexity than is usual for this topic in the star treks. The choice Melora confronts shows how heavy the sacrifices are for someone who dedicates their life to space travel. Melora - like many others - is someone who will never be able to feel at home. Her career and ambitions have alienated her from her home planet, but outside her home planet she’s alienated from everyone else because of where she’s from. I also thought the love story between Melora and Bashir had a darker edge than people give it credit for. We get the sense that Bashir’s infatuation with Melora will probably not last, and that his interest may be more in her science-project/research paper value. Even on their first date all he talks about is how much he’s always wanted to be a doctor and ‘save’ people etc Obviously the ep was heavily referencing Hans Christian Andersen’s original, and very dark fairytale ‘The Little Mermaid’. Down to Melora’s mermaidy hairdo. Although this episode ends happily (and admittedly a little stupidly with that shuttle scene) you get a sense of the tragedy that could have been had she gone through with Bashir’s procedure.

I think "Melora" is beautifully done; it's one of my favorites of the series. The writers merge science fiction, romance and social commentary very well and the result is enchanting. The interactions between Bashir and Melora are engaging, funny and disarming. The delicate presentation of Melora's struggles with her disabilities is sincere and heartfelt. The scenes of Bashir and Melora "flying" are charming and uplifting. I also think the final scene in which the Klingon plays music near the table where Bashir and Melora are seated is both emotionally resonant and humorous. I read above a number of others disliked the episode and I found that surprising. But, to each his own. I loved the episode.

the only problem I have with this episode is that they didn't show bashir and melora bouncing around during anti-grav sex. would have been fun to imagine the fun in it.

Another episode where large portions of the plot depend on the station's personnel not doing their job, and where Quark is presented as everybody's chew toy. This time, Quark reports to Odo that he's received fucking *death threats* by Fallit Kot - a guy who has a sufficient motive to kill him. And still, we're supposed to find this amusing, and to sympathize with a fascist asshole like Odo. Despite the fact that threatening to kill somebody is most definitely a crime, and despite the fact that Odo considers Fallit Kot "a man with nothing to lose", he still doesn't do anything to stop this criminal, and even jokes about wanting to buy a piece of Quark's soon-to-be-dead body. Because of Odo's refusal to do his job, Fallit Kot ends up going on a crime spree, where he commits the following acts: - Theft of a large sum of gold-pressed latinum, some priceless artifacts, and a runabout ship, - Abduction of Quark, Melora, and Dax, - Trying to force a Starfleet ensign to open fire on another Starfleet ship, - Attempted murder of Quark and Melora, - Murder of Ashrock. ...all because Odo was too busy chuckling over the idea of Quark being killed to do his job. Conveniently, Odo is absent from the rest of the episode after he tells Quark that he doesn't plan to prevent his murder. Otherwise, the writers couldn't have written around the fact that by the end of the episode, Odo should be in a cell.

Bobbington Mc Bob

I really enjoyed it. Sixth HIT in a row for season two for me. I don't remember even my much beloved TNG having a run that good! Also Melora = Allara from Orville, but in reverse. Has to be!

MusicalTurtle

Urgh. This episode was uncomfortable while I was able-bodied, when I watched all through DS9 a few years ago. I couldn't bear it as a now disabled person; it's the only episode I skipped after the teaser. From what I remember, based on the reviews - 'CMO's log, We've been working overtime': AM: didn't pick up on it DM: Oh great, of course making accommodations is such a burden on the able-bodied people *rolls eyes* Julian likes Melora after just reading about her: Able-bodied me: Julian's immature woman-chasing strikes again, sappy Disabled me: the embodiment of inspiration p*rn (the entire foundation of his admiration is 'she's so inspiring to overcome her challenges, isn't she amazing?!') blech. Why doesn't she use the transporter?: AM: Huh, I don't know DM: It's about independance and the freedom to go where you want without having to rely on others. Unless she had her own transporter device? [I would find that cool, but that doesn't mean every disabled person would.] Julian alters her wheelchair specs: AM: arrogant, obviously that's not what she wanted but his intentions were good DM: WOW how dare he presume to know better than the disabled person what she needs?! Modifying someone's wheelchair without permission is awful. His intentions may have been good but HE SHOULD HAVE ASKED Melora is defensive, hostile: AM: that's not called for DM: that's still not called for. If there are backstory reasons*, they really need to explain them; if not then their only portrayal of a disabled person is insulting because it plays right into the perception of 'I was only trying to help but that ungrateful disabled person bit my head off'. [Actually, in the real world most of us will only get defensive if unwanted 'help' is *forced* on us, usually because the abled 'helper' just wants to feel good about themselves, isn't actually thinking about us and genuinely helping, and their actions are neither wanted, needed, or even safe sometimes. If someone *offers* to help, most of us will appreciate the offer and politely decline if we don't need assistance. #JustAskDontGrab] *Just read Memory Alpha, and there are some feeble reasons. I don't buy them as being any justification - I understand frustration and the weariness of going over the same things again and again, and the 'talking about me without me' - but this was a new group of people, a clean slate, and it's still uncalled for. There are ways of comminicating one's needs assertively without being horrible. Some nice little bits about accessibility (the Cardassians didn't have Melora in mind, and the world doesn't have disabled people in mind. Legislation has been in place in much of the Western world for years now, and still the majority of places aren't accessible. Just putting in a ramp does not make a building accessible) Overall the teaser can be summed up in one word: Ableism. So, so much ableism. The flying scene: AM: Huh ... it's kinda sweet? Not sure what to make of it DM: Still not sure what to make of it? If you squint reeeeeally hard, they *might* be making a point about removing barriers and getting to know the person, not the disability? Maaaaybe? Or that disabled people might have struggles in everyday life but that doesn't mean our entire lives are hopeless and tragic? Someone mentioned in the comments Julian getting praised in Ops as Melora walks for basically 'curing' her - in isolation it could be taken as okay, but in the context of what I remember from the episode, it's basically 'yay abled saviour well done you for rescuing this tragic person and giving them the opportunity of a normal life' - blech, again. I also seem to recall Melora really only spent her free time with the Dr. That just strikes me as so lazy, so 'medical model' - she's disabled so of course(!) she spends time with the doctor - !!! as if a disabled person's identity revolves around their disability. (and URGH I still can't get past how he fell for her initially because of her disability), - In-universe I understand that it was a character episode for Bashir, it's just unfortunate he was also the doctor. It might have felt less unsettling if the character falling for her and spending time with her were, say, an engineer, but with the established characters that wasn't really possible. An unfortunate situation with a result that just didn't sit well with me. The conclusion, again I don't know what to make of it. Perhaps I might have to watch it to see how well her decision was explained. Maybe it's a good thing the episode didn't go with the abled/'normal' saviour conclusion? After all, any 'cures' in the real world come with a huge price and are extremely rare (think, exoskeleton suits, wheelchairs that can climb stairs - all prohibitively expensive) and for some people such as in the Deaf community, autistic people, their disabilities are an integral part of their identities and they wouldn't change it. If the world were made truly, fully accessible, they would have zero problems. But then, those of us disabled by chronic illness - despite fully embracing our disabled identity - would very happily have our health back given the chance! The most that the majority of us can hope for, however, is increased accessibility and understanding. Phew. Having read Memory Alpha and seeing how it ends - and having sorted my feelings out - I might be able to watch it again. I'll have to see. I just remember feeling profoundly unsettled through the entire episode before, because I really felt it had the potential to say something but completely missed that opportunity. I didn't mean for my first comment (I think?) to be an SJW tirade; this episode was the only one to leave me feeling so conflicted and so deeply uncomfortable (even though I was watching it at the time as an able-bodied person). And I do like Julian as a character overall, by the end he's certainly one of my favourites; just the writers unfortunately chose to play the VERY long game with him. Underneath the initial arrogance and lusting after women though, there are glimmers of a good heart - I remember him making me cringe a bit early on when I first watched DS9 through, but not hating him. Just remembered - did someone mention this was written by a disabled writer?! Oh yes, @Andrea did. My heart just sank again. I mean, it might not have been completely ableist, but for a disabled writer to completely miss the mark is really disappointing. Many of us do have to struggle with internalised ableism but one would hope before putting something out so publicly, it would have been scrutinised a bit more carefully. *sigh* My final niggle is that Of Course the disabled person was played by an able-bodied person - however, as it was way back in 1993 I can forgive them. (House M.D. on the other hand ... !! I can only recall three disabled actors in the entire eight years. That's disgraceful for a medical show.) End rant. Thank you Jammer for both your thoughtful reviews and hosting space for our varying opinions, and debate. I haven't read all of TNG, DS9 and VOY yet but it is so interesting to come and read analyses of certain episodes - really adds an extra layer for me as someone who doesn't usually have the brainpower to think too much about what I'm watching! I hope to get through the three sets of reviews some day. [If Farscape had been your thing, I imagine your reviews and the comments from regulars here would have been fascinating!]

Me again. Y'know, I've just realised why this is such a big deal to me. Sloppy representation might have been okay if she were a supporting character, and/or her disability were incidental. But not only is she the central character, her disability IS the story - so it HAD to be done right. That's the responsibility they chose to take on and I'm not sure they get a pass just because it was the 90s.

@ MusicalTurtle, I respect that your position on this comes from personal experience and it's interesting to read your take on it. But I would like to comment on this specifically: "But not only is she the central character, her disability IS the story - so it HAD to be done right. That's the responsibility they chose to take on and I'm not sure they get a pass just because it was the 90s." I know you already prefaced this with that it doesn't get a pass just because it was in the 90's, but I think that detail really does matter. At that time certain shows like DS9 (and Frasier, as recently discussed) tried to make a big deal about representing certain lifestyles in a positive way, or at least as being viable. And yet, being the era it was, it was going to come with a sort of cheery and sometimes simplified tone that IMO is highly indicative of TV and film from 1985-1995. The optimism of the time sometimes wiped away ugly details. That may be called a flaw, but I'm not sure it's quite fair to blame DS9 itself for it. In this ep we are given the usual scenario: some unpleasant situation walks in the door. In this case it's a disabled person with a bad attitude, but I think that allegorically it means that for all the positive talk many people in the early 90's still had a sort of disdain for disabled stuff, like making places accessible and that sort of thing. So there was likely a clash in the culture between being increasingly understanding, versus the whole "ugh why do we have to be inconvenienced by this crap" self-serving attitude. So yes, they give Melora a bad attitude here, but I think it's sort of like us getting the POV of someone having to annoyingly cater to a disabled person when all they see is the wheelchair. Sort of like "well I guess we have to treat this person special but it's aggravating to go through all that." What I think the episode is doing is saying that, no, actually it's a real person and not a wheelchair, and that the 'annoyance' that comes with the handicap will go away when you get to know her and see her as a person rather than a disability. In terms of the structure of the episode Julian warming to her is roughly on par with him seeing her more as a person and less as a project. And actually that's a good place for him to be as a character too, since he tends to objectify people in terms of "hot woman, should pursue", or "patient, should heal". Where the episode may be lacking, and maybe what you're picking up on, is that it doesn't really give us her POV at all. What we see is *other people* experiencing the initial annoyance, then learning stuff, then warming to her, with a happy ending where understanding is achieved. So it's all from their side of things, and we don't get her side to much of an extent other than when we refuses to change her lifestyle to suit them. But even then it's sort of showed as how they would receive the refusal, not so much her perception of all these things. Maybe that is a failure on its part, and maybe it's a 90's style failure, but I do think the spirit of the thing was to show that their initial annoyance was due mostly to not knowing her better, even though it certainly might come off as her having an attitude problem. That's sort of an issue in general with using a scenario as a placeholder for a social situation. Not that I'm greatly defending this ep, it's one of my least favorite ones. I'd just sort of at least give them credit for trying.

@ Musical Turtle Thanks for sharing. It certainly gives us a little insight into how much perspective can change when circumstances change. I did not like the episode but mostly for the whole "Julian is at it again" story line. I just want to throw in that Melora isn't actually disabled. She came from a planet were everybody was like that. So being dependent on anybody is maybe a bit more annoying. She could just do a full Cartman and say: https://www.youtube.com/watch?v=cDWgs2cnga0 But I get it. The episode is about disability/disadvantage. good points. And don't forget. Disabled people got that episode which is meh but think about what the transsexuals got... a sex change for Quark and gay men were completely absent. So hey representation... Sorry I couldn't find a good representation meme. They were mostly no taxation without representation memes... :( Peter G. makes some good points. They probably meant well back then but I guess this is another one of those moments were perspective is king. 1993 pretty forward thinking, 2019 not so much. There was also a Frasier episode about a disabled guy... check it out. It is the lowest rated episode of the first five seasons! :D It's called "The friend"

OmicronThetaDeltaPhi

@Booming "And don't forget. Disabled people got that episode which is meh but think about what the transsexuals got... a sex change for Quark and gay men were completely absent." Representation done wrong is worse then no representation at all, tough. I was actually astounded to learn that the writer of this episode was himself disabled, because Melora (both the episode and the character) annoyed me to no end. And it's not true that the LGBT people didn't get anything. They got "rejoined" which - in my view - did everything right on this front: It managed to demonstrate that same-sex relationships are a non-issue in the 24th century, while ALSO giving us a compelling "gay rights" allegory. Of-course, I'm not gay myself, so feel free to dispell my enthusiasm for that episode :-)

@ Omicron "Of-course, I'm not gay myself, so feel free to dispell my enthusiasm for that episode :-) " Well, if you ask me that nicely and as the God Empress of the LGBT community! Would you be shocked to hear that the number of countries that discriminate gay men is substantially higher than the number of countries who discriminate lesbian women? I'm also not surprised that you liked seeing two very attractive women kiss. :) Seriously though both are portrayed as cerebral, thoughtful scientists. Compared to this episode "Rejoined" definitely holds up when it comes to being progressive.

This was very interesting commentary, MusicalTurtle... I can't help to think more than this wretched episode deserves. I do find the point interesting that Melora is not strictly a disabled person, but an alien who travels outside of environments her species has evolved for. Does the euphemism "differently abled" apply more strongly? After all, the problem is the environment around her, nothing inherent to her body. Would this episode had made more sense without the science fiction twist (which in a lot of ways fails to make sense -- shouldn't Melora be way less humanoid if she evolved in such a different enviornment?) and simply been told about a more conventional disability? Does it even make matters worse -- Melora's problem is that she's strayed too far "out of her lane" into a world that she's ill-suited to? PS: I read it long ago, but there's an essay specifically about this episode called “No Ramps in Space: The Inability to Imagine Accessibility in Star Trek: Deep Space Nine.” It was in this academic collection: https://www.worldcat.org/title/fantasy-girls-gender-in-the-new-universe-of-science-fiction-and-fantasy-television/oclc/43634837.

Trying to write this through brainfog right now so apologies if some of it doesn't make sense or it goes off on tangents and not actually addressing the comments to which I'm responding. @Peter G. Very good points, and regarding POV I think that's probably the overarching problem with it. If it had been written by able-bodied people I think I *would* have given it a pass because it was the 90s. Learning that it was co-written by a disabled person (he's credited with the story and on the teleplay) is what aggravated me so much. But as I said, nobody is immune from internalised ableism, and many disabled people today, even of the younger generations, still struggle with it. It's just frustrating that they blew such a potentially great opportunity. People feeling inconvenienced by making accommodations is unfortunately still something we come up against a lot. Anything more than a token ramp (which may or may not even be useable) is usually questioned at least, refused at worst. I suppose that is one good point for the episode - they did willingly do everything she needed to the station before her arrival, Julian's unauthorised specs change notwithstanding. @Booming I think Melora not actually being disabled is why I felt so conflicted back when I first saw it, not sure if it was supposed to be about disability or what. But seeing it so very obviously depicted with medical devices (all the bracing, the wheelchair, the cane) this time around I knew it was definitely intended to portray a sci-fi version of disability. I have no idea what other representation was or wasn't around at the time so can't really comment on anything else (though I agree Quark in drag was truly terrible, but I have no idea what level of offensive that was). @OmicronDeltaThetaPhi "Representation done wrong is worse than no representation at all" - indeed. Bad representation does give opportunity to discuss why it was terrible, but only in certain circles. The rest of the viewership only see the bad representation and hear nothing to dispute it. @TopHat interesting questions! Your first paragraph kind of aligns with the real-world social model of disability, which is what I was hinting at re: deaf and autistic people, and disabled people with purely physical disabilities - in a fully accessible world, many disabled people would genuinely have no problem. It's people like me who are disabled through chronic illness with inherently unreliable bodies that muddy those waters ;) Re: straying too far out of her lane, historically and even still today (though it is better now than it was) disabled people have struggled with having very low expectations put on them*, which feeds the problem of inspiration p*rn. Not expected to be able to learn, to love, to live independently, to work, to make useful contributions to society. So in my view, Melora working so hard to leave her planet and do beyond what was expected of her is possibly one thing they actually got right! *Either that or having excessively high expectations - able-bodied people using para-athletes or other well-known disabled people and saying 'they can do it so you should be able to as well'. Or seeing all disabled people as the same, 'my friend's disabled aunt can do this that and the other so you should too' even though they don't have the same disability (although even the same disability will affect everybody differently anyway). I will have a look at that essay. I'm not usually involved particularly with politics around identity and representation (although my initial rant might call that statement into question). DS9: still inspiring debate more than quarter of a century later! Thank goodness most of the rest of it was better ;)

It's kinda hilarious (in a bad way) that the crew of a space station on which different SPECIES work together, make such a big deal of something as simple as making access for a wheelchair. You'd think such a place would need to accommodate a far bigger spectrum of diverse needs, like extreme temperatures or unusual breathing mixtures or the-devil-knows-what-else, on a daily basis. Yes, I know that in Star Trek 99% of the aliens are basically humans with prosthetics. And in an ordinary episode this would be fine. We just accept it as a conciet needed due to the constraints of television story-telling. But when you have a story like "Melora", the rediculousness of it all suddenly becomes evident. In short, this is a story that shouldn't have been made in the first place (even if they fixed all the problems).

@TopHat "I do find the point interesting that Melora is not strictly a disabled person, but an alien who travels outside of environments her species has evolved for. Does the euphemism "differently abled" apply more strongly? After all, the problem is the environment around her, nothing inherent to her body." The same could be said about many of the "disabilities" in the real world, though. People in wheelchairs would be able to do everything a walking person could do, had they lived in a suitable environment. Does it really make a difference, whether this ideal environment actually exists on some planet or not? The only reason these people have such a hard time in the actual world, is that we live in a society that takes walking for granted. And the simple fact is that the word "disabled" nearly always refers to some kind of external standard: You can't be "disabled" in a void. It's always in comparison to some set of requirements for being "able-bodied" which is - in the end - a largely social construct.

The whole wheelchair thing is pretty dumb itself. Didn't we already see a hover chair in TNG "Too short a season". Plus they have hover beds, hover everything but disabled people still have to use wheelchairs?! *I just read that they actually wanted to use the Hoverchair from TNG but didn't because it wouldn't have looked well in the DS9 surroundings...

@Omicron, that's precisely what I was getting at. The phrase "differently abled" might help reshape the language, since "disabled" has an edge of "there's something wrong with you," rather than that society and your environment fails to accommodate your needs. This episode seems like wants to make a statement about the way we construct disability, but it's too muddled to say anything coherent.

@Booming They said in-episode that hover-whateveritwas wasn't compatible with Cardassian tech @Top Hat "The phrase "differently abled" might help reshape the language, since "disabled" has an edge of "there's something wrong with you," rather than that society and your environment fails to accommodate your needs." That's actually why the disabled community are generally trying to reframe disability as the social model (disabled due to lack of accommodation) rather than the medical model (your body doesn't work, with a side order of 'you are inferior'-connotations). BTW, "differently abled" is *generally* a phrase used by abled people trying to skirt the word 'disabled' because they're uncomfortable with it, and it's therefore not a phrase that sits well with most disabled people. However I appreciate your thinking behind it and am not accusing you personally of skirting the issue, just explaining why that phrase is problematic :) "This episode seems like wants to make a statement about the way we construct disability, but it's too muddled to say anything coherent." - After coming to terms with how the episode made me feel, I think I agree with you there. The remark about the station being inherently inaccessible and the flying scene certainly show glimmers of that. I watched the whole episode some time after commenting and processing the discussion, and noted they did do some things well, e.g. offering help, respecting Melora's answer to the offer, not being condescending, etc. Maybe I should go through and note all the good things at some point in the interests of balance!

@Omicron They do sometimes reference accommodating different species; at the beginning of 'Improbable Cause' they altered the atmospheric gaseous mix (which corroded the carpets in the quarters! But they were happy to keep the atmosphere, and just replace the carpets with something else), and the Breen have their refrigeration suits. However I agree with the overall sentiment of your comment; one really would expect accommodations for various differences to be mentioned much more often as a normal part of the daily operations of a space station. The most common mention is of Cardassians' preference of warmer temperatures; it certainly doesn't count as an extreme difference but it is a difference that is casually mentioned fairly often. I think one of the Weyouns said the Breen homeworld ('frozen wasteland') sounded quite comfortable, but the Vorta evidently function fine in ordinary humanoid temperatures anyway. Maybe they have a tolerance for an extreme range of temperatures - useful, actually, to visit all sorts of planets as Dominion representatives!

I think 2 stars is spot on. Although I might give it an extra 1/2 star for the scenes with the Klingon chef. I think my favorite Trek series would be a spin-off featuring them at guy!! Maybe in like a reality cook-off “Gladst in the City” starring Chef K’Taz.

'Retcon notice : Bashir mentions that his father had been a Federation diplomat, which, if I'm not mistaken flies directly in the face of “Doctor Bashir, I presume.” Oh my god, bad continuity! Call the media!' He also mentioned it in season 4 The Quickening. I gather they had altered the timeline in Trials and Tribblations which led to Bashir being genetically modified.

> By the 24th century, we could surely have a wheelchair which can go over obstacles Heck, it's the twenty-*first* century, and we *already* have the technology to make wheelchairs that can go over (simple) obstacles. I don't know if anyone is making a wheelchair with such, but they could.)

Julian having intercourse with M'lora was well done. The sexual chemistry between the two actors is superbly done. 1.5/4 for me

This episode was painful to watch! It's the first one in the series that I've actually only thrown on in the background as it was so cringeworthy from the start. What really confused me is we knew they had to make accommodations for her due to her home planet, but then with the whole wheelchair thing and her yelling at Sisko about you don't know until you've been in the chair honestly had me thinking she was faking being disabled. Was confusing since she could walk around with that exoskeleton thing but then would lash out at people about being confined to the chair. It took me a bit to actually clue in that they were trying to say her home planet being different makes her actually "disabled." Jeeze. The only funny line in it was when she made some comment to Julian about "What kind of an architect would deliberately design a raised rim at the entrance to every door?"

While this was for sure a meh episode, I will say the point (or at least attempted point) seemed pretty obvious to me. That ultimately, given the choice of enhancing her ability to handle a higher gravity environment or retaining her identity as an Elysian, she came to the eventual realization that retaining her cultural identity, even if it means being perceived by others as being disadvantaged, was the more important choice. And yes, I'm, watching this series (for the first time) in 2020. So far, it's holding up surprisingly well

@MusicalTurtle - Your review and discomfort are spot on, I think. I spent a few months confined to a wheelchair, and it was eye-opening to say the least. I won’t pretend to understand permanent disability, but I do know enough to know how completely clueless most able-bodied people are about how to treat the disabled, and how completely inadequate most ‘accommodations’ are. Little things like, after a snow storm, the stairs to buildings are often salted adequately, but wheelchair ramps? Skating rink. Or automatic door buttons placed behind the door hinge so you press it and then dodge a moving door and go around to get through. I could understand if this episode were written by an able-bodied person, but it is kind of shocking coming from someone disabled. I understand pride and the desire for independence and not wanting unnecessary accommodations made, but Melora is just a bitch about it. Like when Sisko makes the completely reasonable requirement that someone goes with her to the Gamma quadrant, because nobody goes alone without vast experience. She loses her shiat and lashes out at everyone. I could understand her appealing initially and explaining that she prefers to work in zero g and that is easiest if she goes alone, but surely an accommodation or compromise could be made on the runabout? Don’t starfleet officers have zero g training?! Why not say: okay, we’ll turn the gravity off/way down for this mission, but Dax/someone still goes with you as a matter of policy. That would seem reasonable, and considering how accommodating the ds9 staff are trying to be, I would think that Dax would be willing to do that. It’s weird they don’t offer that and also that she doesn’t ask for that when she is alone with Dax on the runabout. Also, I think some people are focusing too hard on how a humanoid could evolve on a low/zero g planet. I kind of always assumed that it is a race of people that originally came from a regular planet, but have lived on some sort of moon or small planetoid for several generations. Thus, their bones have turned to chalk and muscles weakened. Kind of like Belters in ‘The Expanse’.

"Extremely mediocre episode. What bothered me endlessly was how Melora's borderline insubordination in the beginning is never even commented upon. "I know Starfleet isn't strictly military, but an ensign being rude and even hostile to superior officers without anyone even saying something?" Indeed, it wasn't realistic. "Rude guest star joins the main cast for an episode" can work. In Data's Day the Vulcan (Romulan as it turned out) Ambassador was noticeably rude - but she wasn't part of the Starfleet hierarchy. In numerous TNG episodes Ro Laren was rude too - and got in trouble for it. But simply inserting a bolshy, unprofessionally difficult Ensign into the DS9 cast and seeing them completely overlook her behaviour made no sense.

The disabled person being the problem and acting difficult while the normies are not. Never seen that before... In the original draft, written by a disabled person, it was actually the other way around. The normies were the once creating the problems and the disabled person was the one who had to deal with that but for some very easily understandable reason they didn't do it that way.

"The disabled person being the problem and acting difficult while the normies are not. Never seen that before... In the original draft, written by a disabled person, it was actually the other way around. The normies were the once creating the problems and the disabled person was the one who had to deal with that but for some very easily understandable reason they didn't do it that way." Imagine that, human beings caught up in their own narrow perspectives.

I get it but in this case it is more about the vast majority often perceiving people who are outside the spectrum of normalcy as bothersome or problematic and switching that around is less easy to digest so they didn't.

@Booming well that's because they probably are bothersome and problematic. If I have to, say, install a ramp so that one employee in a wheelchair (out of say 50) can access my business, that is bothersome and creates problems. Doesn't mean I shouldn't be bothered mind you. Many good and necessary things cause bother and even problems.

Yeah and that is why certain groups are often portrayed as being unfriendly or whatever you want to call her behavior so that the normals can feel justified in being annoyed of the groups these people represent. In essence they turned a script by a guy in a wheelchair that wanted to shine a sympathetic light on how it is to be disabled, especially in connection to the problems normal people create, into a script that made disabled people look shitty. To give a visual representation of what they did. https://www.youtube.com/watch?v=KXbvtov9FHg&ab_channel=EmojiDystopia

Not sure if someone above has addressed this, but another part of the problem with this as a portrayal of a disabled person is that part of the sci-fi premise in the window dressing (her home planet) actually makes it so that she's not simply *disabled* but rather differently abled. Unlike the euphemism used by some now, to indicate they are "abled" but not in the way of the majority (which is really a dishonest way of saying they are indeed disabled in that one aspect but have other abilities), in the case of Melora she really isn't disabled at all, just unsuited to that particular Earth-like environment, whereas in her native environment she no doubt is vastly superior to Sisko and the others. She breaks the direct parallel to disabled people and instead makes it more of an adaptation issue. Within context of this show, she's as disabled on DS9 as someone now on Earth is who has a 2 am - 10 am natural sleep cycle. They will be at a disadvantage if the majority rule is that you're at work from 9-5, but it's not so much that they're disabled sleep-wise since they would be perfectly functional if work started at 11 am, but rather just poorly adapted to the current social structure and would do better perhaps than other people if it was other than it was. Because of this and other mixed messages I've never thought this episode worked pretty much at all. The one possibly nice premise, of someone who loves zero-G, could never work in a series that won't afford cable budgets all the time to have flying scenes. If this was shot now it would be a whole different story.

I thought the beginning was strong because of the portrayal of her as being extremely independent, sometimes to her own detriment. I think it’s a very realistic portrayal of how some disabled people can over-compensate for how shittily society treats them.

This episode had one nice line: “What kind of an architect would deliberately design a raised rim at the entrance to every door?” I mean, think about it. The station used to be where they forced bajorians to do tasks like processing ore to the point of exhaustion, and they probably didn’t have much energy left to lift their legs above the entrances. So yeah, I thought that that was a nice way to show yet another way the Cardassians are brutal.

Diogenes, The same folks that designed US Navy ships!! ... lol I'm gathering that because of the stations mission (processing ore) that the station need the extra rigidity provided by the increased bulkhead support.

Along with Melora, second season DS9 liked to create some annoying entitled d-bags.

What I don’t understand is how Melora and Julian both floated around her quarters with the same vigor. In theory, since she needs less gravity to stay her ground, she should be able to just walk normally in her gravity settings and Julian should have stuck to the ceiling. Even if her own gravity settings make her float as well, she should be less floaty than Julian.

Jeffrey Jakucyk

@Victoria, it's not that Melora has more mass, she just doesn't have the musculature and perhaps the bone structure to be able to handle our gravity. She's like someone who lived on the Moon, and the low gravity caused her body to atrophy. In this case it looks like less than even the Moon's gravity, but it's implied that her species really does float around like that (let's ignore the evolutionary issues that brings up). Even if Melora did weigh an order of magnitude more than Bashir, turning down the gravity wouldn't make him rocket up to the ceiling. In zero gravity they'd both float there just the same.

I finally rewatched this got the first time since first run because the character was so obnoxious and Julian never experiencing zero G was ridiculous. PARTICULARLY when it can be so easily turned off. It would have helped if they had cast Melora with a really skinny or oddly proportioned actor that might suggest a radically different home gravity. However, this episode does benefit from Julian's genetic retcon in how casually dismissive he is of his medical innovation for her. However,

Yea this episode is strange. It honestly seems like it was mostly written by a child. They are IN space. The station and EVERY ship has artificial gravity of some kind. It makes no sense that Julian would have never tried that before. This gravity stuff is too problematic to ever focus an episode on. It's like the universal translator, it's best left to be NEVER talked about because just raises too many questions. The gravity stuff is an equally large plot hole. Such as.....we've all seen those scenes where a starship is wrecked, on fire on inside, alarms blaring, abandon SHIP! Main power is out, auxiliary power has failed......but that artificial gravity is NEVER affected haha.

One of my pet peeves about DS9 (and not just it among the Trek shows) is garish, illogical "alien makeup." It's as though Michael Westmore and his team needed to do something more outrageous than any former effort for each new attempt. In this case, it's the weird nose appendage on Fallit Kot that blocks his mouth and serves no purpose other than "See what effing weird stuff we makeup artists can do!" The whole episode doesn't work very well. It tries way too hard.

As an ethnomusicologist, I loooooved getting some Vulcan and Klingon music in this one! The discussion about the Vulcan composer between Dax and Melora made up for the rest of that scene for me. I'm disabled and chronically ill so it was interesting to see this one. It's certainly an improvement over how Pike was handled in TOS "The Menagerie." People in the comments here seem to have a problem with Melora turning down the "cure" for her condition because she would lose a part of herself. I actually found it very relatable. In our early 21st century medicine, treatments for my various illnesses come with so many side effects that sometimes I have to stop the medicine because the new problems it gave me weren't worth the tradeoff of lessening the old problems. Melora realised that the tradeoff wasn't worth it for her, and that's a decision I've had to make many times. There are also, of course, things that function as disabilities in an ableist world but which are things people consider integral to their identity and wouldn't want "cured." I'm thinking here mainly of neurodivergence. In disability theory, there is a major difference between the "medical model" of disability and the "social model." Under the social model, a disability is something which is only disabling to you because society does not accommodate it, but which in an ideal world would not be disabling. Under the medical model, a disability is something which will cause problems for you regardless of how much the world tries to accommodate you. Being in a wheelchair can be a "social model" issue in some ways - if all of society had no stairs, good ramps, lifts, etc., you would be much less disabled in a wheelchair than you are in our society. That perspective was touched on here because Melora is not disabled on her homeworld, but is especially disabled on a Cardassian starbase. (Fascists are often notoriously ableist and eugenicist so that tracks.) In other words, Melora's impairment works as an allegory to socially-defined disabilities rather than medically-defined ones. It's sort of like how Patrick Stewart said that there is no "cure" for baldness in the 24th century because baldness isn't seen as something that needs to be cured anymore. These allegories wouldn't work well with disabilities that are best understood under the medical model, like for example my own chronic illnesses which I would love to have a cure for. The episode's allegory works much better when you consider social model disabilities.

Ah, that dreaded bane of oldschool TV shows: a main character finds a love interest who we know we'll never see or hear from again, rendering the episode pointless. I'm not sure who asked for this story to appear in literally everything. Maybe it was taught in Screenwriting 101: "Mid-season Filler". For those who might defend this episode (its heart was probably in the right place), just think about the opportunity cost. We could have had an hour of intrigue and excitement. Instead, we got a recycle of an old idea.

I liked this one better than Jammer did. I usually enjoy small-scale Trek, as there are more than enough save the universe melodramas. (As in every NuTrek that was ever flimed, except for some of Strange New Worlds, and most of later DS9.) Yes the Odo B plot was bad, but the main conceit of the Starfleet Officer who faced the choice of changing to fit in better with the new world, or foregoing that to preserve her heritage, I found to be compelling.

This episode is extremely strange, as I'm starting to realize I have no idea what it's trying to say. As we get to know Melora, what we learn gives the viewer a lot of mixed signals. We're supposed to find her difficult and bracing, but like her more as we get to know her. I think that's pretty clear regarding the tone the episode wants to hit. We sort of see her from Julian's POV (which is its own issue that I won't really grapple with). But what is strange is that her defining trait is her insistance on being seen as independant and not requiring help. Is this intentionally meant to be ironic, or laced with pathos? From before we even meet her we hear that she needs special modifications to her quarters, a special vehicle to get around the station, and when we meet her even learn that she finds it difficult to accept a change to her wheelchair unit. So she demands special considerations and equipment every step of the way, and yet keeps insisting she doesn't need anyone's help. For the life of me I can't figure out if this contradiction is intentional or not. Granted, many species might require special environments and breathing apparatus in a human climate. We see this a lot more in Babylon 5 but occasional lip service is paid to it in Trek. So why should Melora's needs be any different from that. Should we really consider being from a low-G world fundamentally different than coming from a methane world? But the episode doesn't treat it as a racial-climate issue, but as an ableness issue. I doubt a methane breather would be enthused to be genetically engineered to become more human to be able to breathe air, although perhaps surgical breathing tech would be welcome. In Melora's case she does seem to prefer being 'like' the others in their environment, so to me there's not much room to say the episode is exploring how extra-terrestrials cope in human environments. It really is mostly about having a handicap. And that's fine. And it's also fine for the person in the chair not to want everyone to see nothing but the chair, always thinking of only their disability. But Melora goes far beyond wanting basic respect, demanding to go to the Gamma Quadrant alone, which Sisko says is inappropriate for an enisgn with no experience in the field. I'll take his word for it. He and Dax discuss whether there would be any issue with her being alone on such a mission, and she walks in, insisting to her senior officers that they have no right to talk about her behind her back. Yes, the episode wants to paint her as overly defensive, which requires correction; but at the same time her side of it needs to have some footing to it, or else she just becomes a fool. And she really does look foolish when, right after basically telling them off, she ends up paralyzed on the floor the next morning in some random corridor. Did that prove that she really does have no business doing missions alone? Does it prove that it's not the disability, but her bad attitude, that got her trapped on the floor, and that she needs to grow up before she can do missions alone? That is never addressed, even though it's essentially the central point being discussed. What they do achieve through Bashir's relationship with Melora is that people need to let her in, but that she needs to let them in for this to happen. It shows that her disability is social rather than physical. That's all well and good, but does that mean that her earlier demands that she requires no assistance (laughable as such claims would be for anyone on DS9 to make) should be attributed to the chip on her shoulder rather than any legitimate point she was trying to make? That would seem to be the case, since as far as I'm concerned Julian, Jadzia, and Benjamin were cordial and professional with her the entire time. I really can't see much fault, even inadvertant, in their treatment of her. But if the verdict falls on the blame entirely being hers for being overly aggressive and then getting herself in a jam due to being pig-headed, what is that supposed to say about the handicap topic itself? That they need to get over themselves, as Melora had to? I somehow don't think that's the message they intended. And I'm genuinely confused about what to take away from it. In the end it seems like the episode remains about Melora alone, as the title suggests, and isn't really about ableism or anything else. It's just a character story. Also, a quick shoutout to the first showing of the Klingon restaurant. Not only is this an excellent addition to the texture of the world, but it took my wife pointing out that in the 2nd scene (where he serenades them) they were blatantly going for a Hungarian restaurant vibe. The racht does sort of look like goulash, now that I think of it, and the music and vibe both accord with it as well. I had originally pidgeonholed it into an Italian-retaurant-serenade thing, but on refelection it's not Italian. Maybe it could be another Eastern Bloc country, but Hungarian fits well.

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Star Trek: Deep Space Nine – Season 2, Episode 6

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Avery Brooks

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Star Trek: Deep Space Nine

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Daphne Ashbrook

Melora Pazlar

Peter Crombie

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Star Trek: Deep Space Nine : “Cardassians”/“Melora”

“Cardassians” (season 2, episode 5; originally aired 10/24/1993)

In which you can go home again, but you really don’t want to

We’ve seen how the Cardassian withdrawal affected Bajoran politics, leaving ambitious Bajorans the necessary chaos to achieve their ends, while the leaders of the revolution floundered in the absence of a clear enemy. But while Kira has explained the horrors of the occupation effectively enough, Star Trek: Deep Space Nine hasn’t given us a sense of what the new world order means to the average citizen of Bajor. This isn’t a flaw; DS9 isn’t a sociological survey. But it is a possible source for new stories, given the show’s willingness to present the reconstruction of Bajor in a positive-but-still-cynical light. “Cardassians” doesn’t spend a lot of time on the planet, but it does introduce a subject we haven’t dealt with before: the Cardassians left behind in the chaos of the retreat. Specifically, the Cardassian children. On a world where their kind is known primarily as merciless aggressors, these orphans are the victims of forces beyond their control, doomed to a lifetime of apologizing for actions they had no hand in. They’re statistical oddities, points on a graph that don’t fit a standard arc, which makes them excellent fodder for drama.

“Cardassians” delves into this to an extent, and for a while, the episode seems to be about the challenges facing the orphans in the reconstruction. But then the whole thing turns out to be about something else entirely. I’m not sure if there’s a term for this, but it’s something I’ve seen on plenty of genre shows, stories that start off dealing with complex, difficult situations before everything gets simplified into a clear-cut case of “Bad guy messed us up.” That’s not exactly what happens here, as Gul Dukat’s duplicity doesn’t erase the stricken expressions Bashir sees on Cardassian orphans while visiting Bajor; nor does it take away from the fact that Rugal, a Cardassian boy raised by Bajoran parents, is forced to leave the people he knows and loves and return to Cardassia with his biological father. But it softens the blow in a way that undercuts the impact of these facts. The brief courtroom scene at the episode’s climax treats Bashir’s revelations about Dukat as if they were some kind of shocking truth, but these revelations are essentially meaningless in the context of what had, up until then, been the story’s main focus. The issue was, does Rugal belong back at home with his own kind, or should he stay with his Bajoran parents? Dukat’s trickery doesn’t enter into it. Hell, if anything, finding out he was manipulating events behind the scenes makes it seem even more like Rugal should stay with his adoptive parents, given that this most likely means the accusations against those parents were part of Dukat’s scheme.

I almost wonder if the ending was a compromise between what the series was aiming for, and what it could actually achieve. It’s something that happens fairly often on television, especially on a show that isn’t quite sure how dark it wants to get. DS9 had demonstrated its willingness to go grim, but maybe destroying a child’s life was a little harsher than anyone was comfortable with, and so we got the silliness about Dukat and his evil plan. It’s not bad as evil plans go (it shows a remarkable amount of cunning, really), but, again, it doesn’t change any of the issues here. It makes Kotan Pa’Dar look even more the victim, but his connection to Rugal was never in question, and the debate over the suitability of Bajoran parents for a Cardassian child never gets going. The episode goes so far as to give us the standard-issue Trek “hearing,” but, as mentioned, the proceedings are short-circuited by Bashir and Garak’s sudden appearance. By the time Rugal leaves with Pa’Dar, you have to work to remember all the angst that built to this moment. Rugal, who spends most of his screentime making his feelings about Cardassians very, very clear (he’s not a fan), doesn’t even seem all that upset about leaving. At the very least, he’s resigned himself to whatever happens next, and while I completely accept this as a resolution, it feels like we missed a step, in seeing him go from hating his biological dad to being kind of okay with it. All the time we spend with Bashir and Garak, tracking down Rugal’s adoption records and uncovering the secret plot, Rugal is going through drama back on the station—and it’s hard not to feel short-changed.

I can’t criticize the episode too harshly for this, though, because while Rugal is interesting in concept, he is (like so many television teenagers) pretty dull in practice; not that anyone would have an easy time competing with the grand return of Garak. Last time we saw our favorite Cardassian sonofabitch was back in the “Past Prologue .” It’s been too long, but thankfully, Garak hasn’t lost any of his charm. Andrew Robinson is as sharp and sexually ambiguous as ever, and his presence helps elevate the Dukat storyline to a high enough leval that its essential pointlessness loses a lot of its sting. Garak is a rarity in Trek , a character whose motives are never entirely clear; like Bashir, we’re pretty sure he’s on the “good” side, and his actions so far have upheld this, but he’s just mysterious enough to make you wonder what else is going on behind those smiles.

Maybe “ambiguous” is the wrong word. Maybe it’s more that Garak is someone with his own agency, and his own goals, and every so often he wanders into this silly little TV series and livens up our dreary lives. We learn a few things about him we didn’t know before—namely that he and Gul Dukat have a history—but if there’s any substantial change between this episode and “Past Prologue,” it’s that Bashir is much more confident and direct. Generally speaking, this is a good episode for the doctor. He oversteps himself once or twice (and Sisko is hilariously terrifying each time), but his instincts are good, and it’s nice to see him forcing the always slippery Garak to be more specific in his insinuations.

As for the rest of the hour, Rugal’s brief time with the O’Briens is illuminating. For once, O’Brien manages to look less sympathetic than Keiko; the chief engineer makes a derogatory comment about letting Rugal play with their daughter, and Keiko shuts him right the hell down. Then O’Brien spends some time with the kid, and, eventually, time with Pa’Dar, and both scenes work well enough, although Rugal isn’t all that compelling. (His situation is compelling, but as an individual, he’s tedious.) Given the title of the episode and the presence of Gul Dukat lurking around the edges, it’s surprising how little Kira is involved in all of this; I think we see her nodding at some point, and I’m sure she provides exposition, but she stays out of the main action. That leaves O’Brien to represent the “I hate Cardassians” faction, which he does with aplomb. Having him hear Rugal explain why he hates Cardassians and why he doesn’t consider himself a Cardassian—despite having the standard issue corpse-skin and assortment of facial spines—makes for a great contrast.

That’s as far as that particular drama goes, though. While “Cardassians” is entertaining, buoyed by Garak’s charms, a thorny premise, and a mystery which only becomes hollow in retrospect, it entertains issues it has no serious interest in exploring, and that can’t help but be disappointing. In the episode’s defense, the Cardassian orphans aren’t a problem that’s easily solvable, and we’re at least given an ending that isn’t happy for everyone. But this feels incomplete, with too much focus put on the trees while the forest just stands there, staring, asking when it can go home again.

Stray observations:

  • I like when Rugal whines, “I didn’t do anything wrong,” after he bites a dude in public. Of course, he probably doesn’t think biting Garak is a crime since he believes all Cardassians deserve what they get. I can’t imagine the psychological toll of loathing your own species. Not having some issues or concerns, but actively despising what you are to the point of claiming you’re something else. It’s reminiscent of the black Klu Klux Klan member in Shock Corridor , but while the episode raises the issue, it never does anything with it, preferring instead to focus on Bashir and Garak’s detective story.
  • Garak makes a point of saying how odd it is that a race as devoted to record-keeping and specificity as the Cardassians would leave so many children behind for no reason. This is one of the reasons he and Bashir work to uncover the secret behind Rugal’s “adoption,” but we do see other orphans on Bajor. Are they all pawns in some Cardassian official’s power play, just waiting to be called into service?
  • Sisko is so much fun when he plays authority figure: “Don’t apologize. It’s been the high point of my day. Don’t do it again.” (He also has terrific pajamas.)
  • “I never tell the truth because I don’t believe there is such a thing.”—Garak, bein’ awesome.

“Melora” (season 2, episode 6; originally aired 10/31/1993)

In which you can take the girl out the wheelchair but you can’t take the oh now I hate myself.

Whatever reservations I have about “Cardassians,” it’s miles above the second half of this week’s double feature, a mediocre slog weighed down by an irritating guest star and some cheesy, grating romance. I’m not sure if I’d say this is the worst episode of DS9 I’ve seen yet, but it’s easily in the bottom five and its biggest crime is that it’s annoying in a boring way. This has all the hallmarks of an original series Star Trek episode, without any of the camp or Leonard Nimoy to take the edge off; there’s a woman constantly picking fights with anyone she thinks is trying to hold her back, there’s a regular ensemble member having a supposedly deep relationship with someone we know we’ll never see again, and a guest star flirts with a major life choice in a way that makes it obvious she’ll never actually go through with it. It’s so “blah” I’d completely forgotten about it by the time I sat down to write this review, and I watched it two days ago. There’s a Quark subplot which is mildly amusing, and not every part of the main storyline is absolutely awful, but “Melora” is as disposable as they come.

The biggest problem is Melora (Daphne Ashbrook) herself. An Elaysian ensign working her way up the Starfleet ranks as fast as she possibly can, Melora comes from a planet with a very low gravity level, which means she needs special equipment and modifications to get by in a standard gravity environment. That raises a question (and you’ll pardon the digression, but there’s little about this hour to talk about otherwise): What constitutes “standard gravity” in this reality? I mean, I basically just made up that phrase for the sake of context, as it’s not something that’s ever really discussed at length in any of the Trek shows. The Federation spans far enough you’d think that this amount of differentiation would come up on a somewhat routine basis—and, it should be mentioned, Bashir handles the challenge without acting like it’s completely beyond his abilities. And yet he and O’Brien treat this as something new. (Also, one of Melora’s defining traits is her isolation). It’s always funny when a Trek show takes a scientific idea it normally ignores, like, say, different atmospheres, and highlights it for a single episode. In a way, it’s like how Melora is hugely important to Bashir for this hour, even though we’ll never hear about her again.

Sigh. I guess I should talk about Melora, then. I wasn’t much impressed. Characters with disabilities, when they’re presented poorly, tend to go one of two ways: Either they’re of the helpful, friendly, “it’s okay if you feel awkward around me, I’m here to teach you life lessons” variety that I’m sure popped up on a half-dozen episodes of Full House ; or else they’re the angry, chip-on-the-shoulder type that picks fights to prove they can “take it.” Melora lands in the latter category, and as soon as she arrives on the station she’s poking at everyone around her, obsessed with taking umbrage at the slightest hint she’s not capable of performing her duties. This makes her hard to take right from the start, especially considering she’s a stranger to us, a stranger who introduces herself by yelling, for no justifiable reason,  at characters we’ve come to care for. Later, the episode tries to soften Melora by first showing how her condition makes her vulnerable—she can fall and not get up—and then demonstrating how her struggles with adversity have driven her to remarkable achievements, like a talent for ordering food at a Klingon diner we’ve never seen before. Oh, and Bashir is totally into her, and we like Bashir, so that obviously means we should give a hoot about whatever Melora’s deal is.

I didn’t, though. I’m not sure how much is the actress’ fault and how much the writing; I suspect it’s a combination of both, but as written, I’m not sure the part is really playable. There’s a flaw that crops up whenever a writer tries to write about a character who has certain innate traits the writer can’t, for whatever reason, empathize with; to compensate, that writer will focus on constantly drawing attention to those traits. Like, if a clueless male writer wants to create a woman, you can expect a lot of talk about physical features and menstrual cycles, since, obviously, being a woman means you think about your boobs and your period all the freakin’ time. That’s the concern with the two aforementioned modes for dealing with so-called disabilities. Yes, being stuck in a wheelchair because you don’t have the muscles or skeletal structure to handle an environment with harsh gravity would be a big deal. But by making it the centerpiece of Melora’s characterization, it ensures she barely exists at all. People don’t tend to go around constantly remarking on aspects of their lives which have been with them for years. Melora is simply an expression of an idea, a symbol made irritating flesh, and, since she’s the one supposed to do all the dramatic heavy lifting here, that gives the episode no place to go.

Like I said, Quark’s plot is fun, although it exists largely so we can have a climax in which Melora uses her magical ability to navigate low-gravity to defeat a bad guy. At least the threat on Quark’s life gives us a scene with Odo, who is sadly missing from most of the festivities this week. (Maybe he and Kira were off having a “Zeppo” moment.) The main story, however, never manages to get off the ground. Bashir sees through Melora’s prickly surface nature (in a conversation which doesn’t play as condescending at all, no sir), the two fall for each other, they float for a while in the low gravity of her apartment. Then he comes up with a “cure,” and she immediately latches on to it, somehow never thinking to question if she really wants to do something to her body that would make it impossible for her to ever visit home again. After having her big moment on the runabout, she decides to forgo Bashir’s miracle treatment, because the ability to float reasonably well is too damn important for her to lose.

Plot summary is the last recourse of the reviewing damned, but I can’t even work up the energy to properly snark this. We did get some back-story from Bashir, which was unsurprising but well-delivered (he played tennis for a while because he watched a girl die), and, um, I mentioned Odo, right? Yeah, let’s move on.

  • Quick, somebody who knows more about evolution than I do: Is it strange that Melora is still recognizable humanoid in shape, despite coming from a planet with gravity so low that it allows for floating? I’d assume she’d be thinner and more delicate; I would’ve enjoyed this episode a lot more if she’d been played by a Muppet.

Next week: We learn a few more “Rules Of Acquisition,” and try to decide what defines a “Necessary Evil.”

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Recap / Star Trek: Deep Space Nine S02E06 "Melora"

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Bashir is excited that a new officer, Melora Pazlar, is set to arrive at the station. She is Elaysian, from a planet with extremely low gravity, which will force her to use a wheelchair on the station that Bashir is preparing for her. Bashir greatly admires her from what he's read and anticipates that she won't want to receive any special treatment for her disability. Even he, however, is taken aback when Melora arrives and behaves with brusque condescension toward even the slightest insinuation that she needs help.

Meanwhile, Quark is shocked to discover that an old criminal associate of his, Fallit Kot, has arrived at the station after serving eight years in prison. Quark had been Fallit's conspirator in the crime but flipped and informed on him to avoid punishment for the same crime, so Fallit is out to kill Quark as revenge. Free drinks, food and floozies fail to distract him from his murderous intentions.

Bashir confronts Melora on her aggressive attitude, suggesting that she lower her defenses a bit instead of always being on the attack. Then he propositions her for a date. They hit up a Klingon restaurant, where Melora proves an expert in both the Klingon language and the cuisine. The pair swap stories before calling it a night. Later, Melora suffers a fall, and Bashir helps her back to her quarters. She invites him in for the first time and allows him to experience the low-gravity environment she's most comfortable in. Floating above the floor, Bashir and Melora passionately embrace .

When Bashir and Melora next meet, the good doctor has figured out a way to modernize some medical treatments that could allow Melora to function in standard gravity comfortably. They start the treatments, and for a few moments, Melora is able to lift her legs easily, but it fades quickly. With each treatment, the effects will get longer until it becomes permanent. However, the treatment comes with a high price: she cannot return to low-G environments or risk seriously screwing up her nervous system.

While performing a survey of the Gamma Quadrant, Melora chats with Dax about her predicament. She likes the idea of getting freedom from her chair, but she doesn't want to be forever exiled from her homeworld. Dax likens her to The Little Mermaid , who turned her back on the sea for love on land. It didn't work out so hot for her.

While all this was going on, Fallit finally ambushes Quark and forces him to buy his life back with the proceeds of a big sale that Quark is negotiating. Fallit accompanies Quark to the trade and then steals both the merchandise and the payment. He drags Quark to a runabout to make his escape, hijacking the one that Melora and Dax have just landed.

When Sisko tries to stop them, Fallit shoots Melora to show he means business. As the crook and his hostages fly away with Sisko and company pursuing in a runabout of their own, Melora awakens Not Quite Dead and flips off the artificial gravity. As Fallit careens helplessly around the cockpit, Melora elegantly launches herself at him and takes him out, saving the day.

With everyone safe and sound, Melora meets Bashir at the Klingon restaurant and informs him that she's decided not to continue treatment. As the chef serenades them with a Klingon tune, Melora holds Bashir's hand and requests that they sit and prolong the moment so that she can remember their time together.

  • It makes no sense that Elaysians, a species which has evolved on a planet with low gravity, would turn out to be Rubber-Forehead Aliens , physically identical to humans but for a prosthetic bulge on the forehead.
  • Bashir states that it's Melora's motor cortex that prevents her from functioning normally under higher gravity, and stimulating it is all it takes to enable her to walk unassisted. This is ignoring the fact that it's her actual musculature, connective tissue, and skeleton that would be unable to tolerate the increased gravity.
  • Melora's braces only cover her shoulders, arms, and legs, with absolutely not support structures going along her torso. Assuming the lower-gravity evolution deal, her skeletal structure should not be able to handle the weight of her upper body.
  • Melora also doesn't have any support for her neck and head. It should have been difficult to impossible for her to hold her head up without that support structure.
  • Author Tract : Initial script writer Evan Carlos Somers was confined to a wheelchair. He pitched the episode's idea and wrote the first draft, putting a lot of his frustrations into the story.
  • Bait-and-Switch : When Julian and Melora's meal in the Klingon restaurant is served, she initially reacts with disgust. However, it turns out it wasn't the Klingon food she objected to, nor the fact that the chef served it with his bare fingers — just that the racht was half-dead.
  • Belligerent Sexual Tension : Melora is pretty hostile to Bashir before they get together.
  • Bizarre Alien Biology : Fallit Kot has a ridge linking his nose to his chin, meaning his species somehow evolved a trait that hinders the act of eating. The episode even showcases it by having Fallit eat during the episode, something that isn't particularly common on the show.
  • Chekhov's Skill : A variant — Melora's low-gravity background puts her at an advantage over her would-be kidnapper when she disables the artificial gravity on the runabout.
  • Disability as an Excuse for Jerkassery : Melora is rude and unpleasant in general, but when she thinks the crew is taking pity on her or underestimating her, she assumes it's because of her physical difficulties and ramps her attitude up more.
  • Don't You Dare Pity Me! : Melora initially has a bad case of this, as she basically interprets anyone making allowances for her — or even offering a helping hand — as pity, and reacts with hostility. When she's first told that Dax will be accompanying her on her mission, she snaps that she can pilot a runabout on her own, only to be told that Sisko wouldn't let any ensign take a runabout into the Gamma Quadrant when she's only just arrived.
  • Due to the Dead : Odo says that, if Quark is killed, he'll buy one of his vacuum-desiccated remains.
  • Revenge : Quark is wanted by a man who spent eight years in a Romulan labor camp for smuggling Romulan Ale. Quark turned on him to stay out of prison.
  • Shout-Out : Dax notes that Melora's conundrum resembles The Little Mermaid .
  • Stepford Snarker : Bashir quickly pegs Melora as one; she uses sarcasm and dry wit about her condition to disarm the people she talks to and keep them on the defensive.
  • Zero-G Spot : Bashir and Melora make out when she turns off the gravity in her quarters. It's heavily implied that things got steamier from there.
  • Star Trek: Deep Space Nine S02E05 "Cardassians"
  • Recap/Star Trek: Deep Space Nine
  • Star Trek: Deep Space Nine S02E07 "Rules of Acquisition"

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The crew of Deep Space Nine is presented with an unexpected challenge when a new arrival, Melora, appears on the station. Melora is an Elaysian, a species that evolved their own unique form of gravity and are unable to survive in “normal” gravity without the aid of special equipment.

Melora has come to the station in search of a way to alter her physiology and enable her to live and move in high gravity environments like those found on Earth and other planets. She hopes that the station’s Chief Medical Officer, Dr. Julian Bashir, will be able to help her.

On the surface, Bashir is intrigued by the challenge of helping Melora, but his attempts to find a solution are hindered by the presence of a new rival, Starfleet scientist, Lt. Etana Jol. Jol is unimpressed with Bashir’s efforts, and believes he is wasting his time.

Jol soon discovers that Melora is not the only Elaysian to visit the station. A second Elaysian, Trena, has also arrived. Trena is a scientist who has come to study the Elaysian physiology. She has developed a device that can adapt a person’s body to survive in a high-gravity environment, but needs to test it on an Elaysian before it can be proven to work.

Trena and Jol form an uneasy alliance, and enlist Bashir to help them test the device. Despite Bashir’s doubts about the device, he agrees to help, and together they begin the process of adapting Melora to life in a high-gravity environment.

The process is a success, and Melora is able to move around the station without the use of the special equipment she previously required. However, the process has also changed her physiology in unexpected ways. She now possesses extraordinary strength and agility, as well as enhanced senses.

The crew of Deep Space Nine soon learns that the device has also enabled Melora to access a form of interstellar travel called “slipstream” – something thought impossible for Elaysians. Melora can now travel vast distances in a fraction of the time it would take a Federation starship, and she sets off on a mission of exploration.

Meanwhile, Trena and Jol’s rivalry intensifies, with Jol determined to prove to Starfleet that her device works and she should get the credit for its development. Bashir finds himself caught in the middle of the dispute, but ultimately decides to stay out of it.

Though Melora’s time on the station is brief, her presence has a lasting impact on the crew. Not only has she opened up the possibility of interstellar travel for her species, but she has also made Bashir and the crew question their own boundaries and beliefs about the universe. They are forced to reassess their preconceptions, and this in turn helps them to become better people.

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Doux Reviews

Star Trek Deep Space Nine: Melora

star trek deep space nine melora

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I must say that you found a lot to like in this episode! It does have interesting themes, but it's so heavy-handed, as if gravity is pulling it down. I also thought that Julian's reaction to weightlessness was rather odd, because wouldn't everyone going through Star Fleet Academy have to experience weightlessness?

We love comments! We moderate because of spam and trolls, but don't let that stop you! It’s never too late to comment on an old show, but please don’t spoil future episodes for newbies.

Melora Stardate:47229.1 Original Airdate: 1 Nov, 1993

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Daphne Ashbrook

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Daphne Lee Ashbrook ( born 30 January 1963 ; age 61) is the actor who played Melora Pazlar in the Star Trek: Deep Space Nine second season episode " Melora ". However, she is recognized as the Eighth Doctor 's companion Dr. Grace Holloway in the 1996 television film Doctor Who . She prepared for the role of Melora Pazlar by taking a wheelchair to a local shopping mall. Commenting on the experience, she said, " Everything's an obstacle and also nobody looks at you. I think because people are uncomfortable and they don't know what to do. " [1]

Personal Life [ ]

Ashbrook was born in Long Beach, California to parents, D'Ann Paton and late actor/director Buddy Ashbrook. She is the sister of Twin Peaks actor Dana Ashbrook and director/producer Taylor Ashbrook.

She made her acting debut at 6, after spending nights at the theater at her parents' play rehearsals as a very young girl.

Ashbrook gave birth to her daughter, Paton Lee, with Lorenzo Lamas . Paton has since become an actress herself, making her acting debut at age 10.

Her current partner is David Vito Gregoli. She published her autobiography entitled Dead Woman Laughing in 2012, and toured with the book in 2013. [2]

Ashbrook is one of the few actors to have speaking roles in both the Star Trek and Doctor Who franchises, appearing the 1996 Doctor Who TV movie.

Prior to Deep Space Nine , Ashbrook had guest roles in the television series Knight Rider , Fame , The A Team (with Dwight Schultz ), and Murder, She Wrote . After playing Melora, she appeared in two episodes of Sisters and one episode of Diagnosis Murder . She also portrayed different characters in two further episodes of Murder, She Wrote , with Casey Biggs , John Rhys-Davies and Rosalind Chao . Between 1995 and 1998, Ashbrook had a recurring role as Annie Pendry on the long running series JAG , appearing alongside Norman Large , Steven Culp , Paul Collins and Gregory Itzin . She later starred in Profiler , Cupid and Judging Amy , before gaining the recurring role of Dawn Atwood in The O.C. (working with Melinda Clarke and again, Rosalind Chao). In 2005, Ashbrook starred in Crossing Jordan and CSI: Crime Scene Investigation (with Jessica Collins ), before going on to appear in Cold Case , Ghost Whisperer and Without a Trace . Her most recent television appearances are Law & Order: LA (2010) and NCIS (2011).

Ashbrook has also appeared in numerous television movies including Brothers-in-Law (1985), That Secret Sunday (1986), Carly's Web (1987) and 14 Going on 30 (1988, with Richard McGonagle and Judith Jones ), before going onto appear alongside future Deep Space Nine actors René Auberjonois and Andrew Robinson in the movies Longarm (1988) and Rock Hudson (1990) respectively. She later starred in Daughters of Privilege (1991, with Kate Vernon ), Intruders (1992, again with Rosalind Chao), Dead Man's Revenge (1994) and The Love Letter (1998).

Asbrook's big screen debut came in 1984, when she was cast as Phoebe Willis in the cheerleading comedy film Gimme an 'F' . Since then, she has starred in the movies Quiet Cool (1986), Sunset Heat (1992, with Tony Todd ), Automatic (1995), Dumbarton Bridge (1999) and Delia's Song (2000). Her latest film role, albeit a minor one, was in the 2009 movie The Lodger.

Aside from her acting career, Ashbrook also enjoys singing, citing " music runs thru the viens [sic] of my family like theatre does. " In November 2010, she released her first album entitled Grace Notes , featuring covers of her favorite songs by Joni Mitchell, Shawn Colvin and Patty Griffin, among others. The album was produced by her long-time partner and musician, David Vito Gregoli. [3]

External links [ ]

  • DaphneAshbrook.com – official site
  • Daphne Ashbrook at Wikipedia
  • Daphne Ashbrook at the Internet Movie Database
  • 2 USS Enterprise (NCC-1701-G)
  • 3 Star Trek: The Next Generation

star trek deep space nine melora

How A '50s Western Series Laid The Groundwork For Star Trek: Deep Space Nine

"Star Trek: Deep Space Nine" isn't quite like any other "Star Trek" show, and when it debuted in 1993, it was quite the departure from both the original series and "Star Trek: The Next Generation." Instead of following intrepid explorers on starships trekking across the galaxy, "Deep Space Nine" followed the stories of the people who lived on board the space station Deep Space Nine (DS9) — civilians, Bajoran militia, and Starfleet officers alike. Showrunner Rick Berman was in charge of taking the "Star Trek" universe in a new direction following the success of "The Next Generation," but he ended up looking to a rather old television series for inspiration.

In an interview with StarTrek.com , Berman explained the inspiration behind "Star Trek: Deep Space Nine" and revealed that he and writer/producer Michael Piller got their biggest idea from a classic 1950s Western. That's pretty great given the fact that "Star Trek" creator Gene Roddenberry pitched the original series as the '50s Western series "'Wagon Train' in space," making at least two "Trek" shows directly derived from mid-century Westerns. While there might not seem like there's a lot of overlap between science-fiction and Westerns, they both have the frontier, lawless territories rife with danger, and the great unknown. The two "Star Trek" shows just dealt with those themes a little differently, in part because they were inspired by rather different shows.

Read more: Why Khan Noonien Singh Casts A Shadow Over The Entire Star Trek Universe

Looking To The Rifleman

Berman explained that it was very important for him and his fellow creatives to do something different with "Deep Space Nine" because "The Next Generation" followed so closely in the footsteps of the original series and they knew they "didn't want to send another crew out on a spaceship at the same time the 'TNG' crew was out on the Enterprise." So when the head of the studio at the time, Brandon Tartikoff, suggested a series inspired by the Western "The Rifleman," it sparked something for Berman and Piller:

"It's a father and a son out doing good deeds on the prairie. This was an era when television executives loved to say, 'Let's do 'The Partridge Family' meets 'Father Knows Best.'' Roddenberry evidently had talked about '''Wagon Train' in space' 20 years before and 'DS9' was ''The Rifleman' in space.' I think what [Piller] and I ended up pulling from that was the idea of a father and a son, and we chose to do the story of a man who had recently lost his wife, who was very bitter, and was sent to a very distant space station that was not a Federation facility. As a result, we could have a lot of non-Starfleet people."

This idea led to arguably the greatest "Star Trek" series of them all  and forced the crew into situations unlike those on any other show in the franchise. The station's captain, Benjamin Sisko (Avery Brooks), was forged in fire and became  the best "Star Trek" captain as a result. Berman and Piller were also right on the money with their "father and son" concept because the relationship between Ben and his son Jake (Cirroc Lofton) is not only one of the best in all of "Star Trek," but all of television.

Father And Son On The Frontier

"The Rifleman" followed rancher Lucas McCain (Chuck Connors) and his son Mark (Johnny Crawford) as they tried to do right by the world even though things were rough on the frontier just after the Civil War. Like Lucas, Ben has only somewhat recently lost his wife as the result of war and sets out to try and do some good at the extremely distant outpost of DS9. The relationship between Ben and Jake is one of the strongest emotional cores in the series because they are so dynamic and real while also being incredibly inspirational. "Star Trek" has a somewhat rocky history when it comes to child characters on various shows, with some fans who really loathed Wil Wheaton's Wesley Crusher on "Star Trek: The Next Generation," but thankfully they course-corrected a bit with Jake. Sure, he's occasionally annoying and frustrating, but that's his job! He's a teenager!

Eventually Jake became a fully-fledged member of the cast who had major arcs and growth, experiencing the horrors of war both as the son of a pseudo-military commander and as a budding journalist. He also provided a much-needed counter to Starfleet propaganda and had some truly incredible episodes (including one where an older version of him was played by Tony Todd). Maybe one day we'll get a "Deep Space Nine" reunion the same as the one we got on season 3 of "Picard" and we can see what's become of Jake since his dad ascended to wormhole godhood in the series finale. A nerd can dream.

Read the original article on SlashFilm .

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  1. Star Trek: Deep Space Nine 2.6 "Melora" Daphne Ashbrook as Melora

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  2. Star Trek: Deep Space Nine : Melora (1993)

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  3. "Star Trek: Deep Space Nine" Melora (TV Episode 1993)

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  4. Melora (1993)

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  6. Star Trek: Deep Space Nine Screencaps "Melora" (S2:E6)

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  1. Star Trek Deep Space Nine Promos for Episode 424

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  3. I'll do my job, Quark (DS9: Melora)

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COMMENTS

  1. "Star Trek: Deep Space Nine" Melora (TV Episode 1993)

    Melora: Directed by Winrich Kolbe. With Avery Brooks, Rene Auberjonois, Alexander Siddig, Terry Farrell. Melora Pazlar, a new arrival on DS9 with a special gravity-based disability, finds an admirer in Bashir. Meanwhile, an old associate of Quark's comes to the station to kill the bartender.

  2. Melora Pazlar

    Somers with Ashbrook. Melora Pazlar was played by Daphne Ashbrook.The character was initially to be Deep Space 9's science officer, because the producers liked the idea of a character who came from a low-gravity environment, but this was changed to the Trill Jadzia Dax, as it would lead to fewer complications.(Star Trek: Deep Space Nine Companion (p. 93))

  3. Melora (Star Trek: Deep Space Nine)

    Star Trek: Deep Space Nine. ) " Melora " is the 26th episode of the American syndicated science fiction television series Star Trek: Deep Space Nine, the sixth episode of the second season . Set in the 24th century, the series follows the adventures on Deep Space Nine, a space station located adjacent to a stable wormhole between the Alpha and ...

  4. Melora (episode)

    (Star Trek: Deep Space Nine Companion (p. 93); The Official Star Trek: Deep Space Nine Magazine issue 6, p. 60) He was approached about using the character in a script, and it was clear to Somers, at that time, that the writers wanted the disabled character to be a guest star who would be a potential recurring character and possibly a romantic ...

  5. "Star Trek: Deep Space Nine" Melora (TV Episode 1993)

    "Star Trek: Deep Space Nine" Melora (TV Episode 1993) cast and crew credits, including actors, actresses, directors, writers and more. Menu. Movies. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight.

  6. Deep Space Nine Still Had a Melora Problem

    When stellar cartographer Melora Pazlar decides to leave her low-gravity homeworld to join Starfleet, she adapts to higher gravities by using a wheelchair and braces. On a mission to DS9, she has difficulty navigating the Cardassian-built space station, which isn't up to Starfleet's design standards. The problem isn't only with DS9's ...

  7. "Melora"

    In-depth critical reviews of Star Trek and some other sci-fi series. Includes all episodes of Star Trek: The Original Series, The Animated Series, The Next Generation, Deep Space Nine, Voyager, Enterprise, Discovery, Picard, Lower Decks, Prodigy, and Strange New Worlds. Also, Star Wars, the new Battlestar Galactica, and The Orville.

  8. Melora (Star Trek: Deep Space Nine)

    Starfleet officer Melora Pazlar ( Daphne Ashbrook ), an Elaysian whose species' physiology is incompatible with the strength of artificial gravity used in most humanoid communities, including Deep Space Nine, arrives on the station. She must use external mechanical apparatus to exist comfortably on the station.

  9. Star Trek: Deep Space Nine

    Watch Star Trek: Deep Space Nine — Season 2, Episode 6 with a subscription on Paramount+, or buy it on Vudu, Prime Video, Apple TV. Bashir develops strong feelings for a woman who has difficulty ...

  10. Melora

    Star Trek: Deep Space Nine S2, E6: Melora. Oct 31, 1993 42 min. Available on iTunes Bashir develops strong feelings for a woman who has difficulty moving about in the station's gravity, and Quark is threatened by an old acquaintance. Oct 31, 1993 42 min. Starring Daphne ...

  11. "Star Trek: Deep Space Nine" Melora (TV Episode 1993)

    Melora : [to Bashir] Maybe independence isn't all it's cracked up to be; I kind of like how it feels to be dependent on someone for a change. And I'm glad you got me to unlock the doors to my quarters, so I could finally let someone into my life. Melora : I'm sorry if I seem overly sensitive. But I'm used to being shut out of the Melora problem.

  12. Star Trek: Deep Space Nine : "Cardassians"/"Melora"

    The biggest problem is Melora (Daphne Ashbrook) herself. An Elaysian ensign working her way up the Starfleet ranks as fast as she possibly can, Melora comes from a planet with a very low gravity ...

  13. Recap / Star Trek: Deep Space Nine S02E06 "Melora"

    Star Trek: Deep Space Nine S02E06 "Melora". "No one can understand until they sit in the chair.". Bashir is excited that a new officer, Melora Pazlar, is set to arrive at the station. She is Elaysian, from a planet with extremely low gravity, which will force her to use a wheelchair on the station that Bashir is preparing for her.

  14. Star Trek: Deep Space Nine

    Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I'm taking a look at the first season. Check back daily for the latest review or retrospective. It's hard to believe, based on what we've witnessed so far, but one day viewers will be able to think "oh, a Bashir episode!" without an involuntary shudder. There will come a time when the writing staff figure out how ...

  15. Star Trek: Deep Space Nine S2 E6

    Dave and Jeff Mader, along with Ashley and Kevin Millard, have rewatched Star Trek: Deep Space Nine, Season 2, Episode 6 "Melora" (1993), as part of a Star T...

  16. Melora

    Melora The crew of Deep Space Nine is presented with an unexpected challenge when a new arrival, Melora, appears on the station. Melora is an Elaysian, a specie. ... Choose Your Star Trek Series. The Original Series; The Next Generation; Deep Space Nine; Voyager; Enterprise; Discovery; Picard; Strange New Worlds; Choose By Year. 1966; 1967 ...

  17. "Star Trek: Deep Space Nine" Melora (TV Episode 1993)

    Summaries. Melora Pazlar, a new arrival on DS9 with a special gravity-based disability, finds an admirer in Bashir. Meanwhile, an old associate of Quark's comes to the station to kill the bartender. The crew on DS9 is preparing for the arrival of ensign Melora Pazlar. She's the first Elaysian to join Starfleet and used to a very low gravity ...

  18. Watch Star Trek: Deep Space Nine Season 2 Episode 6: Melora

    S2 E6 Oct 31, 1993. Melora. SUBSCRIBE. S2 E7 Nov 07, 1993. Rules Of Acquisition. SUBSCRIBE. S2 E8 Nov 14, 1993. Necessary Evil. Bashir falls in love with a wheelchair-bound woman, who is unable to walk in Deep Space Nine's level of gravity.

  19. Doux Reviews: Star Trek Deep Space Nine: Melora

    Joseph Santini reviews 'Melora,' an engaging episode of Star Trek: Deep Space Nine. Star Trek Deep Space Nine: Melora . by JRS "Try sitting in the chair, Commander. ... already discussed the physical differences and changes to muscle and bone which might happen to humans living in outer space or on other planets. Melora's clearly successful; as ...

  20. The Deep Space Nine Transcripts

    The Deep Space Nine Transcripts - Melora. Melora Stardate:47229.1 Original Airdate: 1 Nov, 1993. Medical log, stardate 47229.1. Chief O'Brien and I have been working overtime to prepare for the arrival of a new cartographer. Ensign Melora Pazlar is the first Elaysian to join Starfleet and, as such, requires special accommodations. [Infirmary]

  21. "Star Trek: Deep Space Nine" Melora (TV Episode 1993)

    2.06 "Melora" A Starfleeet ensign named Melora comes about DS9 for a mission to map parts of the Gamma Quadrant, but her species requires special accomodations since they are from a very low gravity planet. Bashir oversees her accommodations and becomes romantically involved with her.

  22. Daphne Ashbrook

    Daphne Lee Ashbrook (born 30 January 1963; age 61) is the actor who played Melora Pazlar in the Star Trek: Deep Space Nine second season episode "Melora". However, she is recognized as the Eighth Doctor's companion Dr. Grace Holloway in the 1996 television film Doctor Who. She prepared for the role of Melora Pazlar by taking a wheelchair to a local shopping mall. Commenting on the experience ...

  23. How A '50s Western Series Laid The Groundwork For Star Trek: Deep Space

    "Star Trek: Deep Space Nine" isn't quite like any other "Star Trek" show, and when it debuted in 1993, it was quite the departure from both the original series and "Star Trek: The Next Generation."

  24. "Star Trek: Deep Space Nine" Melora (TV Episode 1993)

    Star Trek: Deep Space Nine (TV Series) Trivia. A character like Melora Pazlar was initially to be Deep Space 9's science officer, because the producers liked the idea of a character who came from a low-gravity environment. However, due to the difficulty and expense of recreating the effect constantly, the character was replaced by the Trill ...