K'mpec, leader of the Klingon High Council, has been slowly poisoned over a period of months, and is now facing impending death. He nominates Captain Picard to arbitrate the choice of his successor, deliberately choosing a Federation outsider because he believes one of his two potential replacements is behind his poisoning. Newcomer Gowron is a suspicious character, but his fellow challenger Duras is the villain whose treachery resulted in Worf's discommendation. To help negotiate Klingon customs, Picard turns to Ambassador K'Ehleyr, who has assisted the Enterprise in the past. But K'Ehleyr returns with a surprise of her own -- a son conceived with Worf during her previous visit.
23 years now after it originally aired, I think it's easy to overlook how revolutionary an episode of television this truly was. It advanced a continuing storyline in a steadfastly episodic series. And it killed off not one, not two, but three recurring characters!
The most controversial death by far was that of Worf's love interest K'Ehleyr. Despite appearing only one other time, she had become a fan favorite. It's easy to see why in this episode. Her playful banter with Worf is wonderfully written, and actress Suzie Plakson commands the screen with her brash performance. Show runner Michael Piller made the decision to kill her off, which episode co-writer Ron Moore wholly supported; both took flak from the fans for years. But the justification both gave was absolutely right -- only by having Duras murder K'Ehleyr would Worf be truly motivated enough to kill him. (And it was worlds better than the reported plot of an early draft, to reveal a relationship between Duras and K'Ehleyr.)
Piller and Moore were far from the only hands involved in the writing. In a sign that usually indicates a troubled creative process (but here proves no trouble at all), a host of writers are credited for this episode. Three outsiders receive "story by" credit; two of them went on to draft the first script, which in turn was polished by the writing team of Ronald Moore and Brannon Braga. This pairing was working together for the first time here, but they would go on to contribute numerous scripts, including that of the series finale and the movie First Contact. Braga was actually still a student at the time, working at Star Trek as part of a summer internship. He would return in a full time position at the start of the next season.
But this episode was perhaps even more significant for its return for someone else -- Jonathan Frakes to the director's chair. After delivering an excellent episode in his debut effort, he drew what he characterized as another "can't miss" assignment here. But I think that downplays his contribution. Frakes is clearly good with actors, evidenced by the many strong performances here. I've already noted Suzie Plakson, but there's also Patrick Massett's great work as Duras (look for the flourish when he wields the Klingon painstik on the deceased K'mpec), Robert O'Reilly's powerful first appearance as Gowron (those eyes!), and even fair work from the young child actor playing Alexander. (He seems painfully shy and timid, so it's a wonder Frakes got anything at all from him, and it's no surprise that the role would be recast when Alexander later became a recurring character.) Frakes also shows a strong eye for the camera in this episode. There's striking camera placement throughout: odd upward angles and deliberately framed shots that show off the outstanding set decoration and unconventionally colorful lighting design.
Other observations:
- The Klingons finally get an original ship design not reused from one of the Star Trek movies. There was finally room in the Next Generation budget to build the Vor'cha-class cruiser.
- There are lots of callbacks in this episode, for both original series and Next Generation fans, including the Tholians, the Klingon death yell, and Worf's parents. (The series wasn't yet ready to add a "cute kid" to the recurring cast, and needed to get rid of Alexander.)
- Klingon children must age quickly. Alexander looks a lot more than a year-and-a-half old.
- The Klingon bat'leth makes its first appearance here, in a manner that does Alfred Hitchcock proud. The weapon is mentioned prominently in an early scene, and then later figures in the finale when Worf kills Duras (in, by the way, a rather graphic manner by 1990 television standards).
- Composer Ron Jones contributes an excellent score, full of Klingon inspired intervals, romance and action cues, and development of earlier themes he established in prior episodes.
- A possible oversight here in this jam-packed story is that even though Worf kills one of the challengers for the Klingon leadership, there's no mention at all of the possibility of him becoming a candidate for the leading the High Council. I suppose his discommendation foregoes that option. Interestingly, as Deep Space Nine concluded its final season, Worf would also wind up killing the other challenger here for leader, Gowron.
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