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While investigating a glitch in Data's "Sherlock Holmes" holodeck program, engineer Reg Barclay (the awkward recurring engineer played by Dwight Schultz) inadvertently releases Professor Moriarty (Daniel Davis) from the ship's memory. Moriarty, the sentient holodeck character created in episode 29, "Elementary, Dear Data," is alive, bored, and singularly frustrated by Picard's lack of action: he wants off the holodeck so bad he steps over the threshold and into the real world by sheer will. His problem is bringing out his digital lover (Stephanie Beacham) with him, and he hijacks the Enterprise (perched on the event horizon of a forming star that threatens to engulf the vessel) to pressure the crew into finding a solution. The ingenious Chinese box of a story is like a series of interlocking mind games and makes for a delicious battle of wits: things are not always as they seem. Davis's Moriarty is not exactly the criminal mastermind of Doyle's books ("He was only written that way," pooh-poohs his elegant love interest), but he is a genius and a charismatic opponent, and writer Rene Echevarria pens a plot and a character worthy of such a creation. --Sean Axmaker ... Read more

Reviews (4)

Professor Moriarty turns the tables on Captain Picard
It has been four years since Captain Picard promised Professor Moriarty that one day he would be able to leave the holodeck ("Elementary, My Dear Data," Episode 29). When Reg Barclay is fooling around with an error in a Sherlock Holmes holodeck adventure Data and Geordi have been enjoying, the good doctor reappears and demands to know why the Captain has not kept his promise. When Picard, Data and Barclay meet with Moriarty and try to explain that Federation scientists have indeed been working on the problem they have yet to reach a workable solution. Unimpressed, Moriarty stuns them by walking out of the holodeck, which, of course is impossible. Moriarty has reprogrammed the computer, trapping the trio of Enterprise officers in HIS program and demanding Riker find a way to bring him and his beloved female friend out of there or he will blow up the ship. Having tricked Picard into giving him the ship's command codes, Moriarty can do just that.

"Ship in a Bottle" is built on the fundamental fairness of Jean-Luc Picard, who treats a holographic creation with the same respect for sentience he has displayed towards crystals, nanites, and other unlikely thinking entities. This episode is enhanced by the superb performance of Daniel Davis as the Napoleon of Crime who is now motivated by self-preservation and love for the divine Stephanie Beacham. The situation is quite complex, but the resolution is in total keeping with the philosophical foundation of the episode. This is not a great episode in terms of offering a pivotal moment in the history of the series, but it is a completely solid episode from start to finish.

Very intriguing storyline
This is one of my favorite episodes, and I think this sequel to "Elementary, Dear Data" was even better than the original. The solution at the end was thought-provoking and creative. After seeing this episode, one must wonder what how we really know that anything is real. Perhaps we are just a hologram????

The most intriguing use of the Holodeck
with Daniel Davis playing Dr. Moriarty, Lt. Data's "Shirlock Holmes'" arch enemy. One of the best story lines written by the staff of TNG. Episode 138 is a sequel to Episode 29, "Elementary, Dear Data" from the 1st season. The ending to this episode will have you wishing there were another season of TNG to make yet another sequel.

Professor Moriarty reappears on the Holodeck
While Data and Geordi are role-playing in the Holodeck as Sherlock Holmes and Dr. Watson, the Holodeck malfunctions. Geordi and Data quit the program and ask Barclay to inspect the program when Holmes' arch-enemy appears right in front of Barclay, requesting to speak to Captain Picard about leaving the Holodeck. Moriarty successfully leaves the Holodeck later on, but is this for real? This story is a sort of sequel to the 2nd season episode "Elementary, Dear Data," but I like the 2nd season episode better because it has humor and just a little more suspense, I think, than "Ship in a Bottle." ... Read more

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With resonant ties to previous DS9 episodes, "In Purgatory's Shadow" kicks off the fifth season's only two-parter with a nail-biting cliffhanger. It's also a series highlight for Andrew J. Robinson as DS9's resident Cardassian, Garak, who travels with Worf into the Gamma quadrant, where they're captured by the Jem'Hadar and held in a Dominion-controlled internment camp. Reunited with his now-dying mentor (Paul Dooley, returning from the third season's "The Die Is Cast"), Garak reveals a moving secret of his lineage, while Sisko and Kira, on DS9, cope with the Dominion's imminent invasion of the Alpha quadrant. Building up a steady head of steam, this tautly paced episode allows Robinson (best known as the villain of Clint Eastwood's Dirty Harry) to deepen his character's impact on the series, and Worf finds honor and friendship with Klingon general Martok (J.G. Hertzler), who would make welcomed appearances in subsequent episodes. Despite its pretentious title, this episode represents DS9 at its best. --Jeff Shannon ... Read more

Reviews (4)

My second most favorite Star Trek episode
Excellent episode. The beginning of what would be the two-year long war between the Federation and the Cardassians/Dominion. Filled with suspense, surprises, twists and turns, shocking developments, and strong tests of courage. Well-written episode and worth every penny to buy. In case you want to know, my most favorite Star Trek episode of all time is the "Sacrifice of Angels".

The Jem'Hadar are ready to invade the Alpha Quadrant
The day the Alpha Quadrant knew was coming finally arrives in "Star Trek: Deep Space Nine," Episode 112, "In Purgatory's Shadow" (Written by Robert Hewitt Wolfe & Ira Steven Behr, Aired February 10, 1997). DS9 picks up a coded message from the Gamma Quadrant that appears to be in Cardassian, so Garak (Andrew J. Robinson) is asked to analyze it. He says the message is not important, but then is caught trying to sneak off in a runabout. When Garak admits that the message is a distress call from his mentor Enabran Tain (Paul Dooley), the former head of the Obsidian Order, Sisko allows the Garak to go to the Gamma Quadrant, but with Worf (Michael Dorn) along to keep an eye on him. The pair are pretty much at each other's throats the entire trip, until they stumble upon the entire Jem'Hadar fleet. This can only mean one thing: the invasion of the Alpha Quadrant is about to begin.

Worf sends a warning to DS9, but before he can confirm it went through he and Garak are captured by the Jem'Hadar and sent to a Dominion detention center. There they meet Martok, the Klingon general who was replaced by a Changeling ("Apocalypse Rising"), Tain, who is irate that Garak was foolish enough to be captured, and a member of the DS9 crew, which means there is a Changeling aboard the station. Meanwhile, Sisko gets enough of the message to realize what is happening and starts to prepare for the invasion, but the only real option he has is to seal the wormhole, even if Worf and Garak are still on the other side. To be continued... in "By Inferno's Light."

"In Purgatory's Shadow" gets a lot set up for the first part of this two-part story. There are several elements that could sustain an entire episode present in this one, especially the encounter between Garak and Tain, so that ups the ante considerably, making for a strong episode that has a nice balance between small moments and large implications. Of course, given that there is only one way for the Dominion to invade the Alpha Quadrant, I would have to say that the wormhole and Deep Space Nine should already have a couple of Starships patrolling the area, but that would have been the smart thing to do and would have taken away from the big cliff-hanger. Just be sure that you have both parts before you start watching this one.

The Dominion threats begin.
When the station picks up a mysterious coded message from inside the Gamma Quadrant that appears to be Cardassian, Garak is asked to analyze it. He reports that the message is insignificant, but is later caught trying to sneak off the station in a Runabout. He then admits that the message is some sort of distress call from his mentor Enabran Tain, the former head of the Obsidian Order. Garak convinces Sisko to allow him to travel to the Gamma Quadrant to search for Tain, but Sisko sends Worf along as a "chaperone."

Garak and Worf bicker consistently and find nothing. Finally, Worf announces that they can go no further and takes the ship out of warp, explaining that the source of Tain's signal is deep in Dominion space. Garak pushes Worf to travel through the nearby nebula but they end up right in the middle of the large Jem'Hadar fleet.

Worf realizes that the entire fleet can only be assembled for one reason â€" to invade the Alpha Quadrant. He immediately sends a warning message to the station, but is not confident it will get through. Moments later, four Jem'Hadar soldiers materialize on the ship and take Worf and Garak prisoner. Back on Deep Space Nine, the crew is able to decipher enough of Worf's signal to realize the Dominion is coming. Sisko sends Kira to find Worf and Garak, but they are already imprisoned in a Dominion detention center, where they are told they will remain until they die.

Inside the camp, Worf meets Martok, the Klingon general who was replaced by a Founder. Martok leads Worf and Garak to Tain, himself a prisoner, who is dying. Instead of being thankful to Garak for coming, Tain chastises him for allowing himself to be taken prisoner. Meanwhile, Kira returns with grim news that at least fifty Dominion ships are heading their way. With reinforcements at least two days away and only Gul Dukat on hand to help out, Sisko sees only one choice, is to seal the wormhole. If Worf and Garak don't escape in 36 hours, they will be trapped. Meanwhile, Worf and Garak are introduced to another prisoner: Bashir, meaning the Bashir at the station is a Changeling.

On the station, the Bashir Changeling begins making himself useful to Dax and O'Brien while they work out the technology that will seal the wormhole. In the internment camp, Garak meets with Tain again, desperate for a kind word from his mentor before the old man passes on. When Tain makes Garak promise to escape as a final request, Garak makes a request in return â€" that Tain acknowledge him as his son. He does, and father and illegitimate child share a memory before Tain dies peacefully. His mission complete, Garak is ready to find a way out. But he may be too late. On Deep Space Nine, the crew shoots a particle beam from the phaser banks, at the wormhole, intending to close it. However, something goes wrong. The wormhole remains open, and the large Jem'Hadar fleet begins pouring through.

In puragorys shadow and by infernos light
Worf and Garak go into the gamma quadrant to investigate a cardassian code whice garak claims was sent by tain the former leader of the obsidian order. They progress further into the gamma quadrant where they are captured by gem hadar. Worf is forced to fight the gemhadar while garak engineers their escape from the dominion prison camp . It is a great episode which is one of my favorites it shows worfs true test of klingon honor and spirit.

meanwhile on ds9 doctor bashier was replaced by a changeling where he is damageing station systems and would be sucessful if doctor bashier wouldnt have hailed the station from the gamma quadrant.

A taskforce of klingon ships arrive from cardassian space and gowron agrees to ally the klingon empire with the federation once again and it is the beginning of the dominion war saga a must see !! ... Read more

Reviews (2)

It seems no one told Jadziah Dax about Joran Belar
When Dax starts having erratic mood swings and strange hallucinations, Sisko and Bashir take her back to the Trill home world. There they learn from the Symbiosis Commission that for some reason Jadziah is rejecting her symbiont. If this happens, the Dax symbiont will be removed from the host and Jadziah will die. Then it turns out the problem has to do with a previously unknown host named Joran Belar, and the mystery reveals some disturbing facts about what the commission has been doing. Some interesting revisions of what we know about the wonderful but wacky world of the Trills, "Equilibrium" is one of a handful of DS9 episodes that deal with Dax's previous hosts. Overall this is an average episode that just offers a momentary diversion while we wait for the Dominion to come pouring through the wormhole. Besides, we all know that while Jadziah is certainly beautiful, Curzon is definitely the best host Dax ever had.

The Best
This probably one of my top three favorite DS9 episodes. This is by far my favorite Dax episode. The musical score was very good, also. ... Read more

Reviews (1)

"M*A*S*H" begins Season 2 with a better sense of self
By the end of its first season "M*A*S*H" had established its foundation as television's first dramedy, a show that could combine comedy with drama, as amply proven in the landmark episode "Sometimes You Hear the Bullet." More importantly, CBS saw enough to move the show to its powerhouse Saturday night lineup and put "M*A*S*H" in between "All in the Family" and "The Mary Tyler Moore Show" (think about that: three of the Top 10 situation comedies of all time back-to-back-to-back). Not surprisingly, "M*A*S*H" was suddenly the number 4 show in the Nielsen ratings.

What we see in Season 2 of "M*A*S*H" (1973-74) is that Hawkeye (Alan Alda) is the star of the show but the other characters are now being developed as feeling human beings and not just comic characters; the change is most noticeable and ultimately most significant with Hot Lips (Loretta Swit). This videotape has the first third of the Season 2 episodes:

(25) "Divided We Stand" (Writer: Larry Gelbart; Aired: September 15, 1973) is essentially a second pilot. Functionally this was to introduce the major characters to new viewers, but it also showed returning viewers the new direction of the show. When an army observer (Anthony Holland) shows up to check out the 4077th for reassignment, everybody pretends to get along--as long as they think the guy is not watching. Grade A: the observer's critique of the 4077th hits the nail on the head about what the group (and the show) is now all about.

(26) "Five O'Clock Charlie" (Writers: Larry Gelbart & Laurence marks; Aired: September 22, 1973) is an inept North Korean pilot who is trying to bomb an abandoned dump near the 4077th. Everyone is amused by the daily ritual except for Frank (Larry Linville), who gets a really big gun to shoot the plane down. Grade B+: This is a military comedy episode but written by the show's two best writers.

(27) "Radar's Report" (Writer: Laurence Marks; Aired: September 29, 1973) has the corporal from Iowa detailing the odd events happening around camp. The episode marks the first appearance of Sidney Freedman (Allan Arbus), there to see if Klinger (Jamie Farr) is nuts or not. Grade B: A nice attempt to extend the "Dear Dad" idea to another character.

(28) "For the Good of the Outfit" (Writer: Jerry Mayer; Aired: October 6, 1973) has Hawkeye and Trapper (Wayne Rogers) trying to undo a cover-up when the Army accidentally bombs a local village. Grade C+: The parallels to Vietnam are obvious and the docs have their hearts in the right place, but I have to think the Army would have squashed them like bugs or sent them to a battalion aid station (remember, this is the time of Watergate).

(29) "Dr. Pierce and Mr. Hyde" (Writers: Alan Alda & Robert Klane) is simply about the fact that after three straight days in the O.R. Hawkeye cannot slow down. Grade B: Nice idea by Alda about his character.

(30) "Kim" (Writers: Marc Mandel, Larry Gelbart, & Laurence Marks; Aired: October 20, 1973) finally gives Trapper a moment to shine when he decides to adopt an orphaned Korean kid. Grade B: The ending is a bit absurd, but seeing the serious side of Trapper John is a big plus.

(31) "L.I.P. (Local Indigenous Personnel)" (Writer: Carl Kleinschmitt; Aired: October 27, 1973) has the Swamp duo blackmailing an Army officer (Burt Young) so that a young G.I. can marry a local girl. Grade B-: The plus is dealing with the issue of racism in the military, but the minus is the hijinks to get the guy to do the right thing.

(32) "The Trial of Henry Blake" (Writers: McLean Stevenson, Larry Gelbart, and Laurence Marks; Aired: November 3, 1973) has the military judging whether Henry (McLean Stevenson) is fit to command the 4077th. Grade B+: there are some nice "Rashomon" moments in this one as Frank recalls how he remembers events. Again, one of the cast members comes up with something that makes his character more credible and less of a joke. It is because of episodes like this one that the death of Henry Blake had the impact that it did.

Although there is only one classic "M*A*S*H" episode on this tape, there are several that are close. More importantly, we do not have any of the lame episodes that afflicted the show during its first season. Of course, the glory days of "M*A*S*H" do not come until Season 4, so the best is yet to come. ... Read more

Reviews (4)

Top notch action!
Whilst on a mission in the Gamma Quadrant, Sisko and crew travelling in a defenceless Runabout (come on guys, in the middle of hostile territory!) they find a Jem'hadar fighter that has crashed into a planet and is half-buried beneath the surface. Sensors indicate everyone on board is dead so Sisko decides to dig out the starship and send it back to Starfleet, something that will greatly advance Starfleet's knowledge of the Dominion.

Sisko, Worf, O'Brien, Bashir and few irrelevant officers become trapped in this Jem'hadar fighter when another warship arrives full of Jem'hadar. For some reason the Jem'hadar will not risk entering the downed fighter and killing the Starfleet officer, Sisko realises that there is something inside this ship that is very important to them, if they find it they find they're ticket out of danger!

This is a great episode that shows the tension between Worf and O'Brien, unfortunately one of the irrelevant Ensign-like officers is on his deathbed, unfortunate not because he dies but because we have to put up with everyone mourning his death for 20 minutes. Apart from this small problem the episode is flawless, we see a new side to the Vorta and a weakness in the Jem'hadar! Written by a Star Trek fan who had never had anything commissioned before, this is a pivotal story that would be looked back on in future episodes.

The Ship is an excellent, very enjoyable episode.
I found the Ship to be an excellent, very enjoyable episode, though certain bits I'd have written slightly differently. Definitely feel it to be one worth having on tape in my collection.
However, I feel it has no relevance to the situation in Iraq. No relevance whatsoever. For starters, there is no similarity between Hussein and the Vorta character - the Vorta character has a valid interest and moral stature of some degree in the situation. Hussein has none, therefore the comparison is an empty one.

Sisko has a Jem'Hadar warship and a Vorta wants it back
"The Ship" (Story by Pam Wigginton & Rick Cason, Teleplay by Hans Beimler, Aired October 7, 1996) is actually a much more intimate sort of episode than you would expect for the 100th episode of "Deep Space Nine." While exploring a world in the Gamma Quadrant, Sisko, Dax, Worf, O'Brien and Muniz, one of O'Brien's engineres see a Jem'Hadar ship crash onto the planet's surface. The crew are killed, but the ship is intact enough for Sisko to want to use the Defiant to get it back to DS9 to study and learn some of the military secrets of the Jem'Hadar. However, before that can happen, another Jem'Hadar warship appears and destroys the Federation runabout, killing all aboard. Sisko and the others take refuge in the crashed ship and wait for the Jem'Hadar to attack. But instead a Vorta named Kilana makes contact and demands Sisko give up the ship. Sisko figures out that there must be something aboard the vesel that the Vorta wants, and the negotiations taken on a whole new tack. Meanwhile, Muniz has been seriously wounded and needs medical attention.

"The Ship" is actually an interesting meditation on the problems of negotiating with the enemy, especially if you think in terms of zero-sum games. I am not sure if I agree with the idea that either Sisko or Kilana would have ever accepted a win-win situation, but I can certainly appreciate the notion that each would prefer to have a lose-lose outcome rather than risk having the other side "win." Of course, there is an irony to the final outcome of the situation, and I think there would have been more of an impact to the episode if both sides had lost everything. Still, this is a rather thoughtful episode from the show's fifth season.

The sacrifices men make in battle
The death of the ensign is worth twenty minutes of grief. Like year one's "Duet", "The Ship" shows the price the men pay when involved in combat and the importance of trust in diplomatic discussion.

The conflict between Sisko and the female Vorta is a perfect commentary on war.

'Seems to me that a certain resident of the White House and a Iraqi leader would benefit from watching this one. ... Read more

Reviews (2)

"M*A*S*H" starts off as more of a standard military sitcom
"M*A*S*H" would become one of the classic situation comedies in the history of television, although when it hit its peak it was more properly a dramedy. But it did not start off as a great comedy. In the beginning of its first season "M*A*S*H" was more a military comedy in the tradition of "Sgt. Bilko" and "Hogan's Heroes"; in fact, writer Laurence Marks, who wrote "The Moose" and "Yankee Doodle Doctor" of the eight episodes collected on this first video tape for Season 1, was the main writer on the bizarre sitcom set in a German P.O.W. camp during World War II. Anyhow, on that first season of "M*A*S*H" set during the Korean War, Hawkeye Pierce (Alan Alda) and Trapper John McIntyre (Wayne Rogers), spent more time chasing skirts than treating the wounded in the O.R. But by the last third of that season co-creator Larry Gelbart and producer Gene Reynolds would turn the bawdy sitcom into a legitimate black comedy, arguably the first on television. You can see the low point from where they started with these first eight episodes from Season 1:

(1) "M*A*S*H" Pilot (Writer: Larry Gelbart, Aired: September 17, 1972). Hawkeye and Trapper throw a party to raise money to send their Korean houseboy Ho-John to a U.S. college. Notice that one of the Swamp's inhabitants is Spearchucker Jones (Timothy Brown), who failed to survive more than a few episodes. Grade B+: Despite its faults, this establishes the sense of irreverence towards military authority.

(2) "To Market, to Market" (Writer: Burt Styler, Aired: September 24, 1972). The 4077th needs medical supplies so Hawkeye trade's Henry Blake's desk to a Korean black-marketer (Jack Soo). Grade C-: Hawkeye as Bilko is old hat and at this point the North Koreans are comic relief.

(3) "Requiem for a Lightweight" (Writer: Bob Klane, Aired: October 1, 1972). Hawkeye and Trapper are both after Nurse Margie Cutler (Marcia Strassman), which explains why Trapper ends up in a boxing ring facing a really big guy. Grade C-: Substandard military comedy with no one wondering why Trapper knocks out his opponent without actually punching him.

(4) "Chief Surgeon Who?" (Writer: Larry Gelbart, Aired: October 8, 1972). Hawkeye is appointed chief surgeon and a jealous Frank Burns (Larry Linville) brings in a general (Sorrell Booke) to set things right. But Hawkeye shows the general a thing or two about meatball surgery. The first appearance of Corporal Klinger (Jamie Farr) is in this episode. Grade A-: You can tell the quality of a Gelbart script from the start and at the end of Act II the show finds its serious voice.

(5) "The Moose" (Writer: Laurence Marks, Aired: October 15, 1972). The first story drawn from actual historical detail, a Korean family sells their teenage girl to be the servant ("moose") of a G.I. An outraged Hawkeye tries to get her emancipated. Grade B: Attention to historical accuracy would become one of the show's strengths and would make it harder to do the standard sitcom stuff.

(6) "Yankee Doodle Doctor" (Writer: Laurence Marks, Aired: October 22, 1972). The army wants to make a propaganda film glorifying the doctors as "saints in surgical garb." However, Hawkeye has his own ideas about what the film should be like. Grade B+: Another first season episode where there is lots of shtick (Hawkeye as Groucho Marx, Trapper as Harpo), but a totally compelling bit where Hawkeye talks to the movie camera about what war is really all about.

(7) "Bananas, Crackers, and Nuts" (Writer: Burt Styler, Aired: November 5, 1972). Hawkeye is denied a weekend pass to Tokyo and decides to go off the deep end. Eventually Henry has to send for a shrink (Stuart Margolin). Grade C+: More shtick, which would come back to haunt the character where he really does crack up in the final episode, "Goodbye, Farewell, and Amen."

(8) "Cowboy" (Writer: Bob Klane, Aired: November 12, 1972). A shell-shocked helicopter pilot (Billy Green Bush) becomes violent when Henry (McLean Stevenson) denies him a discharge to go back home. Grade C-: Another reminder that there was a serious side to the war and the impact it had on families, but it is hard to take the kidnapping of the bumbling Blake seriously.

Overall this collection grades out as a solid B, purely on the strength of the two scripts each by Gelbart and Marks. The other episodes just get in the way of what "M*A*S*H" would ultimately be in the end and look worse in comparison to what is to come. Of course, the pilot episode is of primary historical importance, but there are a few nice moments on this first volume.

MASH RULES!!!!
Mash is the best show there has been on TV period.....Have a nice Day!! ... Read more

Reviews (4)

Sisko, Dax, Odo, and Garak find themsevles on Terok Nor
"Star Trek: Deep Space Nine," Episode 106, "Things Past" (Written by Michael Taylor, Aired November 18, 1996) is a time travel episode that has the virtue of being about character insight as opposed to some time paradox. It begins with Sisko, Dax, Odo, and Garak being found unconscious in a roundabout. While Bashir tries to revive their bodies in the present they wake up on the station during the Cardassian occupation, when it was called Terok Nor. Fortunately everybody on the station sees them as Bajorans, so they are able to blend in. However, when Dax is hauled off by the Cardassians to serve Gul Dukat, the other three learn that their identities are those of three Bajorans that Odo says were falsely accused of trying to assassinate Dukat and were executed on the Promenade. The attempt to have history avoid repeating itself fails, and the trio is taken into custody, to be executed in two hours. Dax manages to help them escape, but when Sisko and the others again find themselves back in their cell, again two hours away from being executed, it becomes clear there is something more than time travel involved here and they are forced to re-examine what has been happening.

On the one hand the clues are there as to what is really going on, however the initial confusing as to exactly WHEN in the past this is taking place makes it difficult to pick up on them. The confusion is also a clue, but that does not really help. "Things Past" is not really a mystery in the sense that you can actually decipher the clues and figure it out before things are explained, but it is still rather interesting. My biggest problem was at that point because I think this episode involves a reading of one of the characters that I do not think is especially justified. I can buy all of the time travel elements and the other strange going ons, but it is the question of character consistency that bothers me with this episode.

DS9 Forever!!!
I think the best thing about this episode and DS9 in general is that this series allowed the characters to be fallible. They aren't superheroes, they're ordnairy people caught up in the midst of extraordnairy times. There are no cop-outs, i.e. Odo's memory doesn't turn out to be a hallucination caused by some alien virus. The audience is not allowed the automatic comfort of knowing "Hey, this is just a show, these people didn't really do anything wrong, they wouldn't." DS9 tried the audience more than most shows on television with few exceptions like The Sopranos. A show would be lucky to be this good.

If Only...
The moral implications of this episode are so profoundly portrayed by Odo that you can't help but feel for his predicament during the "Occupation". The way the script manages to tear away the character's social defences and expose his vulnerability is admirable. Though the one major, glaring deficiency in the episode is the premise. That is to say that what the characters do, given the situation they're in, is certainly powerful, however, the whole reasoning for their being there is shaky at best. True enough, the character implications are more the focus than the plot, but the explanation given by Bashir feels forced and unsatisfying. That's a shame, but nonetheless Things Past is a rewarding and insightful episode not to be missed.

Flashback
This episode is very similar to Necessary Evil, which was just as rubbish. Dax, Odo, Sisko and Garak are all found unconscious and rushed to sickbay only to find they are in some strange coma. Though Sisko and co are infact in sickbay they all believe they are onbaord Terok Nor and a strange murder investigation goes underway in a slow, unrevealing and scientific flawed episode.

Terrible. Even Andrew Robinson aka Garak couldn't lift this one! ... Read more

Amazon.com

Philosophy takes center stage in this exploration of what constitutes a life form. Everybody knows that Data is an amazing machine, but is he more than that? Is he a sentient being? These questions, perfect for idle speculation, are put on trial on a brand-new starbase when Commander Bruce Maddox (Brian Brophy) decides he wants to disassemble Data in order to learn "its" secrets, so that he can build many more Datas in the future. Data, however, doesn't think his science ability is up to snuff. Maddox forces atransfer so that Data must undergo the experiments, which in turn leads to Data's resignation from Starfleet. But canhe resign, or is he the property of Starfleet? Is he a person, or more like a toaster? A trial is set up in front of Judge Advocate General Philipa Louvois (Amanda McBroom); Riker is called on to argue that Data is the property of Starfleet, while Picard must defend Data as a new form of life. Excellent arguments are given for both sides. --Andy Spletzer ... Read more

Reviews (13)

A thoughtful exploration of "android rights"
This episode of "Star Trek: The Next Generation" takes on a classic science fiction theme: the rights and dignity of sentient artificial beings. "The Measure of a Man" ranks right up there with the best of such explorations. The combination of an intelligent script and superb acting makes this one that bears repeat watching.

Lieutenant Commander Data, the android bridge officer on the starship "Enterprise," is faced with the unpleasant prospect of being disassembled against his will by an obsessed Starfleet cybernetics expert. Scriptwriter Melinda Snodgrass effectively uses the dramatic device of a legal hearing as the vehicle by which to present a philosophical inquiry into the crucial questions: Is Data "alive"? Does he have inalienable rights? Would forcing him into actions against his will amount to slavery?

The performances are uniformly good. Special mention should be made of Brent Spiner's portrayal of Data: it is a masterfully nuanced performance which engages the viewers' sympathy. And Patrick Stewart, as Data's captain and courtroom defender, delivers his key pieces of oratory with passionate integrity.

As I noted above, this television episode can be read as part of a greater science fiction tradition. But in its exploration of the enduring conflict between individual rights and the forces of exploitation, "The Measure of a Man" is also a worthy successor to the literature of the anti-slavery activists of the 19th century. Watch "The Measure of a Man" and then read an abolitionist classic like "Uncle Tom's Cabin," "The Narrative of the Life of Frederick Douglass," or "David Walker's Appeal." With "The Measure of a Man," the "Star Trek" creative team has produced an episode that is full of moral relevance.

Easily, One of Trek's Finest Hours
Commander Data is to be 'retrieved' by famed Starfleet scientist Commander Bruce Maddux for ... disassembly?

This exceptional morality play about the nature of existence has wonderful depth for being a mere forty-plus minutes. In record time, it manages to deal with such titillating sci-fi subjects as the man vs. machine controversy, a person's right to choose, and even slavery.

Brent Spiner, as Commander Data, is at top form in this episode, given perhaps the greatest story possible: a story tinkering with a hidden sense of euthanasia and his right, as a manufactured being, to make the choices that determine his fate. Picard Stewart, as his captain and defense attorney in court, gives an incredibly stirring speech about the nature of epistemology.

Another must-see ... but not just for Trek fans.

Social progress? What social progress?
I'm always a little disappointed when I watch this episode. It's sound in concept but uneven in execution.
Riker and Picard go head-to-head before a judge who must rule whether Data is a sentient being or not. Data is an android, so what should happen when he turns out to have wishes that conflict with those of his superior officers at Starfleet Command? Does he have the right to refuse to participate in a risky experiment, or not? Is he person like those around him, or a tool for their use?

It seems hard to believe that the practice of justice, in particular the adversarial process and arbitrary rulings by judges, has not changed at all in four hundred years. More than that, Riker's courtroom arguments really are nothing more than a sideshow display, making Picard's despondency about his own case very difficult to understand. The judge's final verdict draws on almost nothing of the arguments presented before her, which undercuts the point of Riker and Picard making their presentations at all. However, these problems are balanced to some degree by fine performances from all the actors, and some excellent interplay between Picard and Judge Louvois.
On a final note: it would have been good if the writers of Star Trek: The Next Generation had demonstrated some social change/progress from the twentieth century to the twenty-fourth, rather than just having the characters proudly claim that it has occurred. This was an episode crying out for such a context.

I compute, therefore I am
As the Enterprise docks with a newly commissioned Star Base, Commander Bruce Maddox (Brian Brophy) announces that in his persuit of cybernetics research, he has decided that Lt. Commander Data is a mere machine, not sentient, and he intends to disassemble him so he can one day make many more like him.

Devoid of true emotions, Data is actually intrigued by Maddox's work, yet believes it is flawed and does not wish to risk his life for Maddox's research. When he is given orders by Starfleet to participate in the dangerous experiments, he resigns his commission, only to have his ace trumped by Maddox again, who claims Data is no different than a talking tea kettle, and somehow has become property of Starfleet.

Picard asks the Judge Advocate General, Phillipa Louvoi (Amanda McBroom) to call a hearing to save Data from Maddox's Frankenstein-esque wiles. The understaffed, newly open star base has no qualified prosecuters, so the J.A.G. drafts Commander Riker the dubious "honor" of representing Maddox's cause in the hearing, letting Picard be defense council. When Riker refuses, he is told that if he does not participate in this capacity, the J.A.G. will rule in favor of Maddox, giving Riker no choice but to diligently fight for Maddox's cause in the hope that he will lose.

As a viewer of the show, it's easy to buy into the fact that Data is not merely a machine, but a person... but if this was science fact and not science fiction, would we feel the same way? That a machine built with circuits should be afforded the same rights as a human being? Probably not, but who knows?

Riker and Picard pull out all stops in representing their respective sides, each doing an admirable job. Data must also defend himself, which he does pragmatically - expressing his desire to retain his right to choose and to his very life. This issue comes up again later in episode 64, in which Data constructs a child, his daughter, Lal, who Starfleet eyes greedily.

A great episode.

Does Data have a soul?
I was interested in watching this after watching the classic The Outer Limits episode, "I Robot" (episode 41), staring Leonard Nimoy where the same question was explored... also in a court room.

A lot of philosophy is explored in this episode. But the acting is magnificent with the exception of Judge Advocate General Philipa Louvois who gave some poorly delivered and cheesy lines. Plus for a JAG officer, she sure seems to be shocked by statements made in court more than you would think or believe. But Jonathan Frakes, I believe, gives the best performance as he is given the unbearable task of actually prosecuting Data. You could really feel his pain in performing the task he did not want to do. This also has one of the better poker bits this show ever produced as Data plays poker for the first time.

Like "I Robot," this makes you think. While I developed my own ideas of who I thought was right and wrong and in between, this episode leaves enough open for you to explore your own ideas. Which, I believe, is one of the strengths of this episode. ... Read more

Amazon.com

Okay, blame it on Geordi La Forge. It's his slip of the tongue that causes all the mayhem in this episode. After Data ruins a perfectly good holographic adventure by jumping to the end of a Sherlock Holmes mystery, the frustrated chief engineer asks the computer to create an adversary worthy of defeating the android. What Geordi meant to say was an adversary worthy of Holmes, but never mind. The computer obliges and Moriarty is born. Literally.He comes equipped with superintelligence approaching consciousness and a direct line to the main computer. Somehow, Dr. Pulaski gets thrown into the mix--as a crumpet-eating hostage, of all things--and Moriarty starts messing with the Star Trek universe as we know it and turns reality on its ear.

TNG is at its best when it doesn't take itself too seriously. "Elementary, Dear Data" is an utterly charming outing into high-tech Victorian wacky land. In fact, this episode proved to be so popular that the story was continued three years later in "Ship in a Bottle." The writing is excellent and Daniel Davis is sublime as Moriarty, the hologram who's sentient and knows it.This makes many best of Trek episode lists, and is simply a must-own for all TNG fans. --Kayla Riggney ... Read more

Reviews (7)

A major philosophical point is largely ignored
This episode is more memorable for the extremely significant philosophical point that is largely ignored than it is for the dialog and battle between Data as Sherlock Holmes and a holographic Professor Moriarty. During a lull in duties, Geordi and Data retire to the holodeck where Data is Sherlock Holmes and Geordi is Dr. Watson. However, since Data has memorized all of the stories featuring Holmes, he quickly resolves the mysteries, which frustrates Geordi. In an attempt to spice up the game, Geordi instructs the holodeck computer to create an adversary capable of defeating Data in a battle of wits. The computer complies, creating a conscious, intelligent and self-aware Professor Moriarty, capable of programming the Enterprise computer and gaining control of the Enterprise, all from inside the holodeck.
Eventually, since the program cannot be terminated, Picard is forced to enter the holodeck and meet Moriarty face to face. Picard explains the situation to Moriarty, who returns control of the Enterprise to Picard. In return, Picard has the computer save the Moriarty character, with a promise to revisit the issue in the future.
Since it is the Enterprise computer that creates the sentient Professor Moriarty, the question becomes: Is the Enterprise computer sentient? The answer to this is most certainly no. In the episode "Q Who?" Geordi laughs at Ensign Gomez for being polite to a food dispenser. His statements indicate that he does not consider it to be sentient. Furthermore, the events in all the other episodes support this position. Therefore, the action in this episode is based on the premise that the non-sentient Enterprise computer created a sentient consciousness that is in many ways just as alive as any other creature. The fact that it can exist only in a holodeck is not significant as many organisms can exist only in their specialized environment. This is a very deep philosophical and scientific issue that is largely ignored.
A second problem is the ease with which Geordi misprograms the computer. Given the power of the Enterprise computers, there should be much greater safeguards to make sure that an error in speaking is not misconstrued. The number of safety and security overrides would have to be enormous, and there would have been an immediate directive to fix this obvious and serious software defect.
With these problems aside, this is still a good episode. Moriarty is a character who is devious, ruthless and yet a gentleman. It was a very wise move when he was brought back in a future episode. Dr. Pulaski is adorable in her Victorian outfit as she accompanies Data and Geordi back to the streets of London during the reign of Queen Victoria. There is just too much direct and subtle activity packed into it.

Fun to watch!
Who cares about the technical part of it.
its a fun chase!

It's not elementary.It's not even entertainment!
Based on some prior reviews I bought this. Boy, was I disappointed.
Even though some of the other reviewers give away the plot and surprises, I thought I would enjoy this. All I can say is you have to be brain dead to be entertained by this. Gene Roddenberry would be very disappointed!
Be warned: Data DOES NOT turn out to be Sherlock Holmes' arch enemy, Professor Moriarty.
And yes, Data defeats Professor Moriarty before the professor defeats him.
I think you would have to check your brain at the door to like this one. I really do not understand all the glowing reviews from the other customers.

Cool Episode
This is one of my very favorite episodes. One thing I thought was cool was how they had the bullet holes in wall. For those unfamiliar with the Sherlock Holmes stories, Holmes practiced shooting his gun indoors and shot the letters VR into his wall. Look for it right after Goerdi makes a comment about all the detail.

Data the Detective
Data as Sherlock Holmes

Rob Bowman of X-Files directing fame helms this episode. It's about the Sherlock Holmes program aboard the holodeck. Data wants to create an adversary worthy of his talents. He does. Almost brings down the starship and crew with him. This one marks the debut of "The Nanny" actor Daniel Davis as Moriarty. For those of you who ever read Holmes; Moriarty was his nemesis. Daniel Davis delivers as the episode's villain. There are a few good scenes with Dr. Pulaski. She tells Data that he can't be creative and only solve mysteries that are variations on the ones he's read. She argues that Data is incapable of being creative. Data more than proves that she is wrong. ... Read more

Reviews (1)

Season 4 of "M*A*S*H" ends with "The Interview"
A pair of tour de force episodes with Alan Alda and the entire cast are the highlights from the eight episodes ending Season 4 of "M*A*S*H" collected here on Volume 4:

Episode 17, "Dear Ma" (Written by Everett Greenbaum & Jim Fritzel, Aired December 23, 1975) finds it is Radar's turn to write home in the third "letter" episode from Season 4 and offers a familiar hodge podge of what is happening at the 4077th. 4 Stars.

Episode 18, "Der Tag" (Written by Everett Greenbaum & Jim Fritzel, Aired January 6, 1976) has Colonel Potter (Harry Morgan) ordering Hawkeye (Alda) and B.J. (Mike Farrell) to be nice to Frank Burns (Larry Linville). That can only last so long and after putting on a toe tag that declares Frank to be "Emotionally Exhausted and Morally Bankrupt," the inebriated Major Burns ends up at a battalion aid station. Less than pleased, Potter orders the two doctors to the front to retrieve Frank. A nice example of the Swampmates going too far. 4 Stars.

Episode 19, "Hawkeye" (Written by Larry Gelbart & Simon Munter, Aired January 13, 1976) is a chance for Alan Alda to shine as a actor. Hawkeye overturns his jeep trying to avoiding hitting some children and sustains a concussion. Knowing that if he loses consciousness he might never wake up, Hawkeye babbles continuously to the mystified Korean family into whose home he has stumbled. Ambitious if not completely satisfactory and certainly something completely different. 4.5 Stars.

Episode 20, "Some 38th Parallels" (Written by John Regler & Gary Markowitz, Aired January 20, 1976) has Frank's bright idea of having the South Korean locals bid on the 4077th garbage merging with Hawkeye's disdain for Colonel T.K. Coner, who insists on losing more men sending them to retrieve the bodies of their dead. An average example of the type of episode where the doctors bump heads with gung-ho Army types. 4 Stars.

Episode 21, "The Novocaine Mutiny" (Written by Burt Prelutsky, Aired January 27, 1976) provides a "Rashomon" like look at an incident for which Frank wants Hawkeye court-martialed. The chief attraction here is Frank's idealized vision of himself as a medical deity. Even if it is only in his own mind, this is one of Frank's finest moments. 4.5 Stars.

Episode 22, "Smilin' Jack" (Written by Larry Gelbart & Simon Mutner, Aired February 3, 1976) is the nickname of Jack Mitchell, a M*A*S*H chopper pilot who has flown 839 soldiers to M*A*S*H units and is shooting for the record of 842 help by Dangerous Dan Murphy. The only problem is Smilin' Jack has diabetes and has to be grounded. On the one hand taking a look at the chopper pilots is a nice change of pace, but the ending of this one is pretty foreseeable if not forced. 4 Stars.

Episode 23, "The More I See You" (Written by Larry Gelbart & Gene Reynolds, Aired February 10, 1976) finds Hawkeye confronted with Carlye Breslin (Blythe Danner), who is not just any old flame but the one that dumped him in medicine school because it was clear he would always be a doctor first. A pivotal episode that pokes some major holes in the persona of Hawkeye Pierce. 4.5 Stars.

Episode 24, "The Interview" (Written by Larry Gelbart, Aired February 24, 1976) takes the simple idea of having reporter Clete Roberts interviews the staff of the 4077th. Partly scripted, mostly ad libbed, this is a riveting episode in which the most memorable comment comes from Father Mulcahy talking about surgeons warming themselves over open wounds when it is cold. This episode more than any other signals that "M*A*S*H" is now a dramedy and not a situation comedy. 5 Stars.

One of the problems with rating the "M*A*S*H" episodes on this videotape is that if "The Interview" is a 5, then nothing else here can be. But half the episodes here at only half-step below that classical black & white season finale. The show will keep getting better, but clearly Season 4 of "M*A*S*H" was the best to date. ... Read more

Reviews (4)

good episode
I don't really need to explain the plot of this episode. That has already been done quite well by other reviewers. What I will tell you is my opinion on the episode.

It is really good overall. The only thing I don't care for from Star Trek TNG is how they handle most disability issues.... Most of the time the characters that develop disabilities view them as a fate worse than death (including this one)... and equally as often (including this episode) their disability is miraculously cured by the end of the show. I know that the show is based in a time frame several hundred years from now when medicine is supposedly much more advanced, but still, it gets annoying. I think the series missed out on some important messages by doing this.

Even so, the dicussions between Riker and Worf are great during this episode. (They discuss contradictory cultural and individual belief systems on life, death, what is important in life, and the "right to die").

In the end though, it is all neatly tied up and everything they talked about was for nothing as Worf is cured.

Incidentally, the only disability related episode that I remember that doesn't end with a cure is one in which a NON-Enterprise crewmember is the one who develops the disability. What does this say about the strength of the crew?

I generally LOVE the way in which TNG handles most social issues. Disability is one that could have been handled better though.

Worf has to choose between experimental surgery and suicide
In "Ethics" Worf is injured by a failing container that leaves the Security Chief paralyzed from the waist down. Worf's only hope is a radical medical treatment urged by Toby Russell, a neural specialist who has come to help Dr. Crusher with the injury. Russell wants to create a new spinal cord for Worf, but Crusher wants to try conventional therapy when she learns the new procedure has never been used on a humanoid. Worf would never survive if the experimental treatment failed. Worf rejects Crusher's suggestion since it can only restore partial mobility and asks Riker to help him commit suicide in accordance with Klingon traditions. Of course Russell goes behind Crusher's back to offer the experimental surgery to Worf, giving the injured Klingon another option besides suicide.

Certainly "Ethics" is a rather melodramatic episode, which tries to take full advantage of its title. The ethics of experimental surgery is old hat (have you ever seen an episode of a television show where they did NOT try the experimental surgery in the end?), but Riker's deliberation over Worf's request is the centerpiece of the show. It reminds me of the moment at the end of "The Best of Both World's" cliffhanger where Riker ordered the Enterprise to open fire on the Borg cube with Locutus/Picard. It is totally believable that Riker could honor Worf's request. Those scenes redeem "Ethics" enough to make it an average episode in the series. There are also some implications for the characters down the line when Worf asks a stunned Counselor Troi to care for Alexander in the event that he should die.

Insightful
This episode contains an excellent debate on medical ethics. Worf is in a situation where conventional treatment will not help him make a full recovery (necessary for Klingon honor) but a new, experimental treatment is likely to kill him. Though of course Worf makes a full recovery in the end, the argument is not really resolved. The nature of the debate does not lend itself to easy solutions, but it does bring up many interesting points to ponder.

Star Trek: The Next Generation "Ethics"
Worf is severely injured following an accident, and loses the ability to walk. Dr. Crusher tells him his condition may be permanent, and suggests treatments that could could restore much, but not all, of his mobility. However, Worf is not pleased at that, and considers his own remedy for his disability, until a doctor comes aboard the Enterprise hoping to try out an experimental but risky medical procedure that could restore virtually all his mobility. After conferring with his son about his situation, Worf decides to undergo the procedure, but will he come out of it alive? I like this episode because it's a story about Klingon rituals and what Klingons traditionally do when they're paralyzed. ... Read more

Reviews (4)

Another bad decision under the guise of compassion
The Enterprise answers a distress call, to find that a ship crewed by a group of Talarian boys on a training mission has had an accident. They bring the boys back to the Enterprise for medical treatment and, much to their surprise, they discover that one of the boys is actually Human. Jono initially has no memory of his Human parents and seems completely at ease in the militaristic, male-dominated society of the Talarians. But when those memories do begin to surface and Jono's adoptive father arrives demanding his return, everyone is faced with some very difficult decisions.
There's actually a lot to like in this episode. It makes you think, and there are some strong performances from Patrick Stewart, in an unaccustomed father-figure role for Picard, and the actor playing Jono - whose character provides a good contrast to the nice-as-pie Wesley Crusher. But for me, this episode was really let down by the peculiar attitudes of the Enterprise's crew. Because Jono had a broken arm as a child they assume he must necessarily have been abused by his adoptive father and rush around looking for evidence to prove it. And just when Jono is starting to remember his past and realise what a difficult position he is in (he was orphaned in a battle with the Talarians), with a nod and a smile, Picard hands him back to his adoptive father. Sorry, people, you can't put the genie back in the bottle like that. The end of the episode is not the end of Jono's problems, but their barest beginning.
Three stars.

Better the Alien Species you Know...
The Enterprise rescues a group of young Talarians from a training craft. While dealing with the injured, Dr. Crusher discovers that one of them is human, identified as Jeremiah Rosa. When he was almost four his parents were killed in a border skirmish with the Talarians during their war with the Federation. It was assumed that Jeremiah was killed along with everyone else. However, Endar, a Talarian captain who's own son had died in battle against the Federation, adopted Jeremiah as his own, giving him the name Jono. When Endar asks for Jono to be returned along with the other Talarians, Captain Picard refuses, insisting that Jeremiah should be returned to his biological family. Endar warns Picard that if his son is not returned, there will be another war, but since Jono is of the age of decision, Picard does not believe it will ever come to that.

"Suddenly Human" is a variation on the story found in Westerns such as "The Searchers" or "Dances With Wolves" in which an "alien" culture brings up a child as its own (the theme does pop up in Science Fiction from time to time, most notably in the classic "Stranger In A Strange Land"). The key twist here is that Jono/Jeremiah is old enough to make the decision for himself, so the focus is more on how Picard and Endar make their cases in trying to persuade him where to live instead of the "law" trying to determine what is in the best interest of the child. So this might first seem like a Prime Directive episode, but it ends up being more personal than that. Of course, Talarian culture is a bit more barbaric and a bit less civilized than good old Terran culture (think more "human" looking Klingons), so the cards are stacked in Picard's favor in that regard, but this is the only culture and the only father that Jono knows. It is an interesting debate, even if you do not take it to any sort of allegorical level.

This is the weakest entery in the hightly success series.
This movie has its moments of grandeur, but I found it to be very lame and a real dissappointment (althoughI did like the part where John Luke goes inside that space time continuim and sees his family). The one after this movie "Star Treck First Contact" I think is a much better movie, with better special effects than any of the other ones (including the ones with William Shatner).

Had it's moments
Had it's moment ... Read more

Reviews (8)

It is Q versus Q2 with Janeway and "Voyager" in the middle
Just knowing that Q (John de Lancie) makes his way to the Delta Quadrant is going to be enough to sell most of you on watching "Star Trek: Voyager" Episode 30, "Death Wish" (Story by Shawn Piller, Teleplay by Michael Piller, Aired February 19, 1996), but this is also a solid episode that actually explores the life of the Q. "Voyager" accidentally beams board a member of the Q Continuum (Gerrit Graham) who was imprisoned inside a comet. The grateful Q (okay, really Q2) tries to go on his merry way, but all of the male members of the "Voyager" crew disappear instead of him. Captain Janeway (Kate Mulgrew) wants her crew back, but instead the "original" Q arrives to "help." He tells Janeway that Q2 had been imprisoned in the comet for 300 years because of repeated attempts to commit suicide. Q2's demands asylum and then proceeds to hurtle the starship around the universe in an attempt to lose Q. Janeway ends the fun by agreeing to hold a hearing to consider Q2's request. Because of her decision either Q2 will be returned to his prison or will become mortal so that he can end his existence.

Tuvok (Tim Russ) represents Q2 at the hearing while Q makes the case for the continuum. Q2 is bored with being immortal and Q is worried about what happens when immortal beings shed their immortality. Witnesses who have been affected by the Q are called, including one very familiar bearded face. Of course, Q tries to persuade Janeway to see things his way by telling her he will send "Voyager" home if she rules in his favor. But you know Captain Janeway and her overly developed sense of justice. The ending is not without it twists and in terms of Q episodes across the "Star Trek" universe "Death Wish" is certainly different, and not just because Q takes has a different reaction to Janeway than he did to Picard or Sisko. This is an excellent episode that introduces the "Voyager" crew to the joys of Q without getting the series off track.

A very good Star Trek episode
SPOILER ALERT!!
his is probably the best ST:VGR episode I have seen yet.
Q(John DeLancie) is exceptionally funny.
While investigating an asteroid, a visitor beams up claiming to be Q (here referred to as Q2), who explains that he is not the same Q The Enterprise encountered.In an attemp to magically commit suicide, he makes all voyager's male crew members dissapear. Suddenly, the Q that trekkers are familiar with arrives.He restores all the male crew members and explains to the crew that Q2, fed up with experiencing everything, is in favour of self-terminition, and therefore the Q continuum considers him a mental case. Q transports all the people whose lives have been changed by Q2 to Voyager, and explains that Q2 should not commit suicide, considering all the wonderful things he's done.The voyager senior staff ask to see the living conditions of the Q continuum that depressed Q2. As it turns out, nothing is new, and everything possible has been,said,done and learned.
Q later becomes influenced by Q2 and grants him mortality.

My favorite lines:
Q2: And you only live nine years!
Kes:That's right
Q2: Oh, how I envy you!

Perhaps the best Q-related episode in Star Trek
Okay...I absolutely loved this episode and consider it to be one of the high points of Voyager Season 2 - and this is saying alot because I'm not usually a big fan of the Q episodes, in any of the Star Trek series.

The reason I enjoyed this episode so much is because it made me think. What *would* it be like to be immortal? Would existence become boring once I'd seen everything and done everything there was to do? Interesting questions to ponder, especially for a person who believes in the after-life!

Additionally, in this episode I found the character of Q to be quick-witted and interesting rather than just immature and annoying...which is how I have historically felt about Q episodes. John DeLuncie does a good job here, as does the actor who plays the "other" Q (Quinn).

Plus, as an added bonus for all you Riker fans...Will makes an appearance in this episode. Sorta nice to see him after all these years!

All in all, a "must see" for Voyager Season 2.

Thought Provoking Episode
This episode of Star Trek Voyager examines the issue of suicide or better put, the right to die.

A member of the Q Continuum later known as Quinn (Gerrit Graham) wants to become mortal so he can die. Q (John DeLancie) intervenes stating that Quinn's death would bring chaos to the Continuum. Captain Janeway sets up a fromal hearing to determine if Quinn should be allowed to die.

This is an interesting eppisode and has a special guest appearance of Commander William Riker (Jonathan Frakes) of Star Trek TNG.

The episode has an unanticipated ending that may surprise some, but that is all I can say without a spoiler.

This episode was listed as one of the fan's favorites by UPN

Q enters and asserts domination on Star Trek: Voyager
This is the first episode of Star Trek: Voyager with the omnipotent Q in it and one of two episodes with Q in it. The other episode is "The Q And The Grey", Episode 53. In this episode, another Q, called Q2 according to startrek.com, wants to die. He wants to commit suicide because, according to him, after living for hundreds or thousands of years, you've done everything and seen everything. There is nothing left to see and do. Everything is the same, day in and day out, and the Q's should have the right to die. As you may or may not know, the Q's are immortal; they never die. And, according to Q2, immortality becomes a disease that inflicts his people. As a result, Q shows up to stop him from doing something rash. Q wants him to be like the rest of the Q's: happy and free living with immortality. But Q2 doesn't listen to him and wants to put an end to his dredgeful existence. This is all being said aboard Voyager. So, Capt. Janeway, attempting to save her ship from this tug of war, plays the role of judge, jury, and, unbeknownst to her, executioner, and has a hearing on Voyager on Q2's behalf. Q has changed since he was tormenting the crew of the Enterprise and this episode links his doings now and all of those in his past with the Enterprise. Superb episode of Q with Star Trek: Voyager. ... Read more

Reviews (9)

what a show!!!
This was the best show to ever hit tv. It had the best producers and writers. Miami Vice is a legend. It cann't be said enough about Don Johnson and Phillp Michael Thomas as they teamed up to make this amazing tv series. To bad it only runned for few years.It could of been a big hit in the big screen. Thanks for the memory for everyone that was part of Miami Vice.

Sex & The City----male version
As pure action adventure, this suffers somewhat---it's WAY too slow compared with some other VICE episodes.... But its fun is not there---this is basically the teststrone version of the current hit cable show, SEX AND THE CITY, where a bunch of women have sexual/romantic adventures in the Big Apple every week. Here, it's vice cops Sonny Crockett and Ricardo Tubbs, traveling out of sunny South Florida to catch a NYC-based drug cartel, but, along the way finding themselves trying to score---Tubbs with his old flame, played by Pam Grier (long before Quentin Tarantino utiliezed her talents), who's undercover---quite literaly---with a Manhattan gangster; and Crockett, who does it with a mystery woman who gave him the eye in a bar. Oh, yeah, there are the obligitory gunfights, including one set in the plaza of the World Trade Center....

Miami Vice-AWESOME
I just recently purchased this Miami Vice-Prodigal Son Video. It was AWESOME AND INCREDIBLE Experience that I relived. I am remmbering how wonderful, suspenseful and highly charged series this was. I was captivated all over again. This was the 80's but a good series is timeless not matter how old it is. Good Directing, Acting and good plot series this was. No Cop or Suspenseful Drama show can even compare to the Miami Vice Series even today. I was a fan in the 80's in still will always be a Fan. I wish there were more videos regarding this series. Please go get the Video you will enjoy not only the music but the plots the twist the action and drama will keep you in suspense. I Love MIAMI VICE- The Series/The Movies. PLEASE whomever has the ability to GET the entire series in Video/DVD please do. You will be truly blessing a loyal group of fans and also gain new fans. It you want my opinion BUY THE VIDEOS and MUSIC. ENJOY THE EXPERIENCE!!

The Start Of The 2nd Season
A nice, effective start of the 2nd season of Vice, and the action picks up where the 1st season had ended. This episode goes back a little to show us some of where Tubbs had been in before he came down to Miami. Crockett proves he can handle The Big Apple. Look for KISS singer Gene Simmons in a small part of a drug dealer who directs Sonny and Rico to head to NYC.

Columbian drug busts are "sniffed out " by Sonny and Rico
Miami Vice :The Prodigal Son. 1985 ,94 mins Dir, Paul Michael Glaser, Starr, Don Johnson, Phillip Michael Thomas, Saundra Santiago and Edward James Olmos. Score by Jan Hammer . One year TV holdback Extract courtesy of the VHS copy. Crockett and Tubbs (Miami Cops ) are assigned to a mission in Bogota , Colombia; a third world country whose exports are illegal, and where a 2 billion dollar industry is run by a couple of crazed indians. However, when it is discovered that the contraband from their carefully planned ambush has mysteriously failed to arrive at the police lock up . Crockett and Tubbs find themselves in the high-tech world of New York City. Definitely good action packed fun. It is not surprising however that this full lenghth feature film was held back for TV release . The plot is regretably drawn-out and forgotten in the endless soap styled romances between Sonny and Rico's chick flings. The score and cinematography are the highpoints.I especially found the ambient lighting effective for a show such as Miami Vice and all credit goes to Director of Photography James A. Contner. The well chosen sountrack features the likes of Ex- Eagle Glen Frey , Roxy Music, Bob Seeger and The Silverbulletband, Phil Collins and Virtuoso Jan Hammer who is famous for his work with Stanley Clarke, Al Di Meola and Jeff Beck Ex- Yardbird ... Read more

Reviews (2)

"Nothing Ugly About Him; He's Just...Different"
So says a female member of a youth gang that has kidnapped Vincent. Vincent has been badly-injured in an explosion and, now chained, is being cruelly taunted and tortured by the gang. Vincent manages to make his escape, killing one of the gang members in the process. Suffering from badly-blurred vision and other injuries, he must try to find his way to safety Below, all the while being sought by the youth gang