Dem
47
GOP
53
Here is the question we put before readers several weeks ago:
J.W. in West Chester, PA, asks: What do you think is the best episode of any of the Star Trek series?
Today's answers cover the "second generation" series, other than The Next Generation:
D.E. in Lancaster, PA: So, I feel they will take away my Trekkie membership card and fake Vulcan ears if I don't respond to this question. So, this week you're looking for the best episodes of Deep Space Nine, Voyager and Enterprise. Really the best of Star Trek lies in The Original Series, The Next Generation and Deep Space Nine (the closest episode that Voyager had to greatness is "Year of Hell," and Enterprise... well, the less said the better). Of all the series, Deep Space Nine is my all time favorite. There's so much that is excellent about it and it has a wealth of awesome episodes to chose from ("The Emissary," "In The Pale Moonlight," "The Visitor," "What You Leave Behind" and "Beyond The Farthest Star" will probably get the most mentions). As much as I love those episodes, and so many others, my top two favorites are from the first season and the last.
From the first season, the intense "Duet," that seems most prescient to today's issues. In it, Major Kira Nerys, a Bajoran, has to confront a suspected Cardassian war criminal, who ran a brutal labor camp where Kira's people were prisoners. The show brilliantly walks a fine line showing both sides of the story and ultimately explored the concept that war crimes can be just as detrimental to the side that commits them as it is to the oppressed. This is what was called a bottle show, in that it was written to be filmed on existing sets and with as little SFX (usually to save money for an effects heavy show). It proves that great science fiction doesn't always need cutting-edge effects and space battles. I dare anyone to watch this and keep a dry eye at the end. Part of what makes this episode so great is the writing by Peter Allen Field—it is always a gift when TV works on so many levels at once. The other is the star performance of Nana Visitor as Kira and Harris Yulin as Marritiza.
From the last season comes my favorite DS9 episode, "It's Only A Paper Moon." Being that this was in the last season, this puts it deep in the Federation/Dominion War and the episodes by this time were very serialized. In a previous episode, one of the regular characters suffers a pretty substantial injury that leaves them crippled. Being that this is Starfleet, their injury is healed but the character suffers from PTSD. In order to cope, this character escapes into the station's holosuite, where he begins to live in the crew's popular simulation of Vic Fontaine, a fictional lounge singer in 1960's Las Vegas. Fontaine, played beautifully by James Darren, realizes that this character, in their pain, is trying to run away from the world just as much as he (Fontaine) longs for his program to stay running as part of his growing sentience. This episode is masterfully written by Ronald D Moore—if you have a list of your favorite Next Generation and Deep Space Nine episodes, I would be willing to bet that Moore's name is listed in the credits on most of them. When I used to pitch story ideas to Star Trek, I lived in fear that I would have to pitch to Moore, who I admired so very much, because I would have been reduced to blathering nonsense if I had a chance to talk to him. The reason why out of so many fantastic episodes that this is my favorite is I know what it's like when the thought of living in a TV show or a film is so much more enticing than the real world. Even a space station at the crossroads of a brutal war seemed safer than the real world. This episode appeared when I was still dealing with the after effects of when I was shot at 20 some times in a carjacking gone horribly wrong. And 5 years later, after the death of my Mom, I found comfort living on a moving Island with a Smoke Monster on it. So this episode of DS9 really struck a chord with me because even after almost three decades, there is still a part of me that still lives on that Cardassian Space Station, on that Island and in Westview, NJ. That is the strength of stories, they provide us with shelter when times get hard and a gentle nudge when it's time to leave.
R.L.D. in Sundance, WY: The Original Series is pretty cheesy, but did come up with some good episodes. The second batch, set in the TNG era, were better, especially after Gene Roddenberry was no longer in charge of anything. My favorite from this era is probably the DS9 episode "It's Only a Paper Moon." I'm sure the tears in my eyes right now are 100% related to all the cat hair in the air in this house and not the poignant story of a disabled veteran trying to reintegrate back into his regular life after a harrowing war experience. Especially so since Starfleet is primarily a scientific and exploratory organization with military operations being a secondary mission. This was also a wonderful use of the Vic Fontaine holodeck character, which was a great addition to the later seasons of the show. This is Star Trek done right.
J.P. in Fredericksburg, VA: While "Spock's Brain" does indeed have its charms, my personal favorite episode across the Star Trek Series is "Far Beyond the Stars." It's a magnificent examination of racism and sexism in the early days of pulp sci-fi magazines. Avery Brooks gives a bravura performance as Benny Russell. And we get the fun of seeing all of the regular (and many recurring) cast members without their alien makeup for an hour.
T.L. in West Orange, NJ: I've been so busy with various things over the past several weeks that I fell way behind on Electoral-Vote.com, but my wife made sure that I saw the TNG version of "best Star Trek episodes." The TNG list lines up very well with most of my own favorites as well.
And where Deep Space Nine is concerned, it's my favorite series among the Treks and I have a huge number of opinions on "best episodes.." I'll limit it to a top 3, with an understanding that there are probably half a dozen others that can rotate in and out depending on my mood. In fact, my apologies, but I actually have to make two separate "top 3" lists, because they fall into two very separate categories.
Category One: Episodes that are part of an overarching story. In chronological order:
"Duet": A first-season episode, but one of the first ones to really make it clear that DS9 was going to be a different kind of series than the ones we'd seen before. Incredible character work with Kira, a masterful performance from guest star Harris Yulin, and one of the first episodes to look fans straight in the face with a bleak ending and say "Yep, that's what we do sometimes. Deal with it."
"Improbable Cause": One of the two best episodes featuring plain, simple Garak ever. Densely plotted and yet coherent, Odo showing excellent detective work, and twists that were simultaneously surprising and ones that made you smack your forehead and ask why you didn't see that coming. It also features Garak's rather creative interpretation of "The Boy Who Cried Wolf," which I've quoted to people in a host of circumstances ever since.
"In the Pale Moonlight": The other one of the two best Garak episodes; here he plays the serpent in the garden that is Sisko's brain, with riveting results. To quote Garak, Sisko came to him because "[you] knew that I could do those things you weren't capable of doing"; if there's a better Trek-focused example of the phrase "the road to hell is paved with good intentions," than that moment, I certainly can't think of it.
And Category Two: Episodes that go very far off the beaten path into alternate realities or the equivalent, showing the strength of the cast and of some significant relationships. Again, in chronological order:
"The Visitor": An older Jake Sisko recounts seeing his father die and how it irrevocably warped the rest of his life. I don't think we'd ever seen a parent-child bond in Star Trek on the level of the one between the Siskos we get here, and it's both very sweet and very, very sad. Beautiful.
"Trials and Tribble-ations": Trying to revisit a classic original-series episode and even using footage from it screams "stunt episode," but damned if they didn't pull it off in virtually every detail. (The one place I'd quibble is that the music they put in for the bar brawl scene is a pale shadow of the music used in the original story.) So many brilliant and hilarious moments, and even though Enterprise tried to explain the different appearances of Klingons in a different way, I think Worf's "They are Klingons, and it is a long story... it is not something we discuss with outsiders" is still one of the best lampshadings of a retcon ever. (And my judgment is not at all affected by the fact that I happen to own a tribble that had been used on the set of the DS9 episode!)
"Far Beyond the Stars": Written by a fan of the pulp-sci-fi era, and it shows. Do all the details of "Benny's" publishing office ring true with the actual state of SF writing at the time? Of course not, but the tone feels dead-on, and it's convincing enough to charm the audience in that sense and to make us recoil at blatant racism on the part of some characters. A great way to look back while also looking forward, and a chance for the cast members to show off their chops by playing someone very different and yet very recognizable.
A wonderful trip down memory lane, this topic!
K.D. in North Vancouver, BC, Canada: I'd love to share with our community that I am married to someone who knows and has memorized every episode title of Star Trek, all series. Both of us are lifelong, autistic Trekkies. In fact, on our first date ever, he asked me what I thought was the best Star Trek series of all time. Knowing the stakes were high, I paused, reflected, and said, "Hands down the second half of Deep Space Nine." We are now married with two kids and two dogs. I guess my answer was good!
In that spirit, "In the Pale Moonlight" from season six of Deep Space Nine, in my opinion, is the best written Star Trek episode of all time. It delivers a flawless, character-driven morality play that shatters Gene Roddenberry's utopian ideals without ever feeling preachy or cheap. At its core, the episode is a razor-sharp two-hander between Sisko and Garak, a desperate Starfleet officer/Cardassian exile who together walk the road to hell paved with the best of intentions.
The episode is framed as Sisko's personal log—a raw, confessional monologue delivered with Avery Brooks' intensity. We watch a principled Starfleet captain, the man who has always found a moral third way, systematically dismantle his own ethics in the name of survival. The Dominion War is bleeding the Federation dry, the Romulans are staying neutral, dooming billions. Sisko decides the only solution is to manufacture evidence that the Dominion plans to invade Romulus.
Every step corrodes him:
- He releases a convicted murderer.
- He bribes Quark with latinum and threats.
- He lies to a Romulan senator.
- He watches his forged data rod get exposed as a fake.. and then learns the full truth.
By the end, Sisko is an accessory to murder, forgery, and the assassination of a head of state. His final log entry is devastating: "I can live with it... I can live with it."
That right there, that single line, delivered with quiet, shattered resolve, is one of the greatest closing monologues in Star Trek history. It doesn't celebrate the victory. It mourns the man Sisko used to be. No other Star Trek captain (not Picard, not Kirk, not Janeway and certainly not Archer) is ever allowed to fall this far and still remain the hero. The writing trusts the audience to feel the weight of that compromise.
F.Y. in Ann Arbor, MI: The Dominion War arc toward the end of Deep Space Nine featured some of the best work in the franchise. "It's Only a Paper Moon" stands out.
Nog—whose character showed remarkable growth over the series—loses a leg in combat. Unwilling to face the aftermath, he retreats to the fantasy of Vic Fontaine's holosuite casino. Eventually, Ezri Dax convinces Vic to coax him back into his life.
Apparently Aron Eisenberg—may he rest in peace—had combat veterans approach him and thank him for such a realistic portrayal of Post-Traumatic Stress Disorder.
The exchange at the end: "Are you OK?" "No... but I will be", is a superb acknowledgment of the fact that one doesn't just "fix" PTSD, especially over the course of a 45-minute TV show.
G.N. in Albuquerque, NM: Having grown up watching The Original Series, my favorite Deep Space Nine episode is "Blood Oath." In that episode they brought back three Klingons that appear in the original series—Kang, Koloth, and Kor, played by the original actors dressed up as the updated version of Klingons. I could still tell who they were even through all of that. All three have now passed on, I believe.
A close second would be "Trials and Tribble-ations," based on the above but I suppose all the tribble stuff is a little overdone and overwatched for me (though it's still cool), whereas "Blood Oath" was totally unexpected when I saw it.
A.J. in Mountain View, CA: You reminded me this morning that I had totally forgotten to put in a plug for "Best of Both Worlds." Oh well.
That's ok, because my favorite Star Trek series was really Deep Space Nine. The best storyline episode was arguably "In the Pale Moonlight," which was an excellent portrayal of a major overall theme in the whole show: the tension between the Federation's "high" moral ideals, and the brutal reality of the war they were experiencing.
The best lighthearted story was "Who Mourns For Morn?", in which Morn, a barfly at Quark's bar and up until then a completely minor character who had never had a spoken line of dialogue, is apparently killed, having bequeathed all his assets to Quark. Morn's death brings forth a number of old "friends" from Morn's past who come out of the woodwork to lay claim to Morn's assets. The "friends" turn out to have really been accomplices in a bank heist in which Morn had betrayed them all and kept the stolen latinum for himself. In the end, the accomplices turn on each other, and Quark is the only one left to take possession of a sizable number of gold-pressed latinum bars, only to discover to his horror that there is no actual latinum inside. "There's nothing here but worthless gold!" he exclaims. In the end, Morn shows up at the bar again, alive and well. It turned out that Morn faked his death so that the accomplices would expose themselves and he could be rid of them, and he gives Quark a small amount of latinum as compensation for his trouble. I really appreciated how the writers took a completely unimportant character and suddenly gave him a rich past just for humor value.
A.H.-S. in Brier, WA: I have a soft spot for Deep Space Nine. I've always found the writing and the acting to be compelling. And then, of course, there's Avery Brooks' voice, which ranks up there with Morgan Freeman.
My favorite episode is the very first, "The Emissary." I really like the challenge that the writers set themselves. At the very start of that first episode, all of the regular characters loathe each other. Picard, Sisko, Kira, Odo, Gul Dukat, Quark... none of them can stand one another. And yet, by the end of that first 2-hour episode, without being obvious about it, you see the emerging respect among them. The entire episode is about building a team.
Or building a new series using the framework of its predecessor without being reliant upon it.
J.G. in Farmington, CT: "Emissary" (Deep Space Nine): Gene Roddenberry was optimistic about humanity to a fault, coming up with kooky ideas like no money, scarcity, selfishness, family issues, or politics. DS9 wisely dispensed with all of that and presented us with a grieving single father stationed on the frontier dealing with the aftermath of a brutal genocidal occupation of an ancient desert-dwelling culture (maybe they should have called this one "Parallels"), trying to balance a violent religious sectional insurgency, erstwhile collaborators, occupation hawks, meddling politicians, smug priests (played by Nurse Ratched!), all with a factional, multinational crew of subordinates. And this episode kicked it all off by killing his wife. No table stakes here.
J.C. in Norman, OK: I missed this Question of the Week when it was first proposed. I am glad you are extending its run.
I have seen most of the Star Trek series, barring the several animated series, and my favorite episode across the entire Trek universe is "The Visitor" from Deep Space Nine. It doesn't take on large issues, as Trek is wont to do. And it only relies on sciency stuff to set the premise. What it focuses on is the relationship between a father and a son and features some outstanding acting by the late Tony Todd. In particular, there is one scene (from 27:00 to 29:15, for anyone who has Paramount+ to watch) that hits its emotional marks without being maudlin.
There are plenty of other episodes across both second and third generation that I like well enough, but "The Visitor" is the only episode I watch over and over again.
J.L. in Los Angeles, CA: For me, asking "What do you think is the best episode of any of the Star Trek series?" is like asking "What is the best food of anything that it edible?" Best meat? Best fruit or vegetable? Best dessert? Best blending of ingredients or combinations of food (sandwich, pizza with toppings, hoagie)? So I need to define the category for which I answer. I mean, my favorite TOS episode is "The Doomsday Machine." But is it the BEST one? No, for me, that remains "City of the Edge of Forever."
So let's take a brief moment to first define "best." Again, speaking only for myself, for a Star Trek episode to be best, it needs to both ground itself in Star Trek (in other words, it couldn't be done as well in any other TV series or genre) while also TRANSCENDING Star Trek. It needs to go (boldly) somewhere beyond where even the strongest episodes go. And most important of all, it needs to touch me emotionally.
That actually happened last night while my family and I were watching the latest episode of the vastly underappreciated new series Starfleet Academy. "The Life of the Stars" focuses mostly on the EMH Doctor, but you don't realize that until the very end. I won't spoil it beyond that, but the episode left my wife and me bawling our eyes out and my 15-year-old son Jayden spontaneously reaching out to hold my hand during the final five minutes. I said to my family when the episode was over, "This wasn't Star Trek, per se, but it was something so much more." So in that way, I think "The Life of the Stars" might just be the "best episode of any of the Star Trek series."
That said, Deep Space Nine is my favorite of all of the series, and I have to put "The Visitor" and "In the Pale Moonlight" up there with the best episodes of any of the Star Trek series. The former always leaves me crying (happy tears), and the latter defines Benjamin Sisko as someone willing to sacrifice his morals for the greater good of the galaxy and the United Federation of Planets. Kirk, Picard, Janeway... they would each give their lives to save the Federation without hesitation. But Sisko gave his soul.
J.P. in West Dover, VT: Because it is 2026 that we are living through, I have to go with "Past Tense" from Deep Space Nine. The American government housing their homeless and unemployed citizens in the ironically named and walled-off Sanctuary Districts has always been with me, but maybe more so now.
D.B. in Nixa, MO: This is an impossible question for me, since I have not seen enough of the modern series in order to judge them (and I never got fully into the later seasons of Voyager nor any of Enterprise).
As well, comparing best episodes across series is, tough. So instead of a single "best" episode across all series, here's my thoughts and favorites for each of the series I've seen enough to feel comfortable judging my favorite.
Deep Space Nine: I'm going with "Far Beyond the Stars." I'm a sucker for episodes that pull the actors into other characters and seeing so many without the prosthetics... Having a short story that everyone loves being essentially destroyed because the captain of the space station is Black.
Voyager: I stopped watching about halfway through the series (no cable, so no UPN) But from what I saw, "Tuvix." It was still episodic, so there was no doubt that by the end of the episode Tuvok and Neelix would both be restored, but the dilemma that this newly created person, whom everybody loved, had to be destroyed to bring Tuvok and Neelix back.
G.W. in Oxnard, CA: I wanted to go with my gut on second generation Star Trek, so the episode that sprang to mind was "Tuvix" from Voyager. Tuvok and Neelix are merged into a single being due to a transporter accident (the transporter was invented because they couldn't afford to do shuttle scenes in the original series, but became a frequent plot device). At first the merged being is eager to be split into the original two, but it takes a long time to figure out the technical issues and the merged being gets the name Tuvix and becomes a unique individual who is neither Tuvok nor Neelix and yet is both at the same time. When the technical issues are worked out, Tuvix realizes that who he has become in that time will cease to be and neither Tuvok nor Neelix will retain any of Tuvix' memories, because they are using the transporter versions when the accident happened so Tuvix will die in the procedure. Tuvix is unable to perform the duties of Tuvok and Neelix, and the crew's survival may well depend on those abilities, so Capt. Janeway performs the separation in defiance of Tuvix' will. The episode is an exploration of the concept of self and when is it right to take a life to benefit the group.
As a side note: From my perspective as a scientist and engineer, Capt. Janeway was the best Starfleet captain. Kirk, Pike, and Archer all fit the mold of not being interested in hearing the technical issues, just do something that has never been done, and get it done in 20 minutes! Picard would listen to the technical briefings, and as a trained archaeologist, understood maybe half of what was said, then demanded just do something that has never been done, and get it done in 20 minutes! As an engineer, that sort of thing has happened to me before, and I really resent the time I wasted preparing and presenting the technical briefing. Capt. Burnham from Star Trek: Discovery is a special case. She was a scientist, but she felt she was so brilliant, that she was unable to delegate to her technical staff. Capt. Janeway was a scientist and had a collaborative working relationship with her technical staff.
G.S.C in South Pasadena, CA: One particular episode of Voyager caused me to drop my jaw. Really. It was "Nemesis." Chakotay crash-lands on a planet that's in some sort of war. The people who look human and speak English have a unique syntax and word order, and use uncommon words in the middle of a sentence, but it is easy to follow and understand. (On that alone, this episode is stellar.) Chakotay, who has lost his ship, joins their fight against those scary-looking aliens. However, at the very end, he learns that those whom he has assisted are, in fact, the bad guys in this war. In the fog of war, it can be difficult to know who to help and who not to: Regardless of how they look.
And, not to be surprised, Gene Roddenberry was one of the writers.
G.R. in Carol Stream, IL: "Survival Instinct" (Voyager), where Seven of Nine says that "survival is insufficient."
W.L. in Springfield, MO: Several years back, I decided to embark on a journey of seeing every Star Trek episode ever made. That journey took a few years and while I revisited a lot of episodes I had already seen, I got a better feel for each series by watching them in the order of release. In the late 80s/90s, I was first introduced to Star Trek. The Next Generation was my gateway but Deep Space Nine ended up being my absolute favorite. That remains so today.
I have seen every episode from The Original Series through Enterprise, but am only a couple of seasons into Discovery. The only other modern series I've invested time in so far is Prodigy. It is hard to imagine anyone watching that many episodes. I've seen, to this point, nearly 800 episodes total and that's out of nearly 1,000 to date. It's a lot and I can't keep track of that many, so I have a spreadsheet. I have every episode I've seen rated on a four-star scale.
Deep Space Nine
Since this is my absolute favorite of the series, you'll not be surprised that I have rated 48 of them at 4 stars.
"The Siege of AR-558" is set in the midst of the Dominion War, a bloody and brutal conflict that has seen the Federation suffer many defeats. Capt. Sisko and crew arrive at a remote Dominion communication relay where a morale-starved garrison is struggling through a five-month stay when the team is supposed to be cycled out every 90 days. Only 43 of the initial 150 troops remain and they are plagued by cloaked mines that detonate around the encampment. As the Dominion launches an assault to retake the relay, Capt. Sisko takes command and while there is victory it comes at a tremendous cost.
This is perhaps one of the most brutally dark episodes of the series, painting war in a harsh and horrifying light. It celebrates the courage of soldiers in the trenches who must often sacrifice themselves to protect others. It distills much of the essence of Deep Space Nine into a single narrative.
Voyager
Although Voyager is often seen as a step down from its predecessors, it started slow but ultimately built up an impressive list of 24 four-star-rated episodes.
I've been trying to avoid episodes that will be cited by others but "The Year of Hell, Parts 1 and 2" is just such a perfect pair of episodes, I couldn't avoid it. This time travel episode finds Voyager caught in a temporal wave that turn the alien Krenim species from an insignificant faction into a powerful force in the system. This is accomplished through the use of a time ship that can eradicate entire species from existence. As the Voyager fights to flee the faction's territory, they suffer immense losses and the ship is at risk of being destroyed. Through an inventive plan, they sacrifice themselves for a chance to reset the timeline. Although this was initially conceived as a season-long idea, ultimately condensing it down to a riveting two-part episode is probably for the best. Sometimes Star Trek is at its best when the idealism of the Federation is put to the test and their way of life is challenged. They have to make tough decisions that don't always guarantee success. It was a turning point for the series, shifting its focus in a direction that ultimately yielded some of its best seasons.
Enterprise
The series had fewer seasons than its three predecessors and faced a lot of frustrated Trek fans who weren't enamored with the idea of rewriting TOS history even though the series attempted to weave into it instead. It takes place prior and leading up to the founding of the United federation of Planets (UFP). The ship contains a lot of experimental technology that hasn't been tested on long distance missions and the crew must make do with that limited technology and survive in the depths of space. It struggled through its first two seasons but ultimately ended up a solid effort. I gave 12 episodes four stars.
For this one, I'm going to focus on a three-part episode. "Babel One," "United," and "The Aenar." While the last episode is solid, the first two leading to it are terrific. "Babel One" is about an attempt to spur negotiations between the Earth/Vulcan alliance, the Andorians and the Tellarites. While we know they are successful canonically, the episode suggests it was a hard-fought peace. The trilogy deals with an attempt by the Romulans to thwart these efforts and prevent them from unifying and thus becoming a potent force in the quadrant. The dramatic tension ramps up through the first two episodes as they attempt to ensure a peace proposal is ratified. The episode employs many of the core ideals of the United Federation of Planet to showcase how the Trek universe as we know it came to be: the radical idea of peace through cooperation and strength through unity.
S.W. in San Jose, CA: From Voyager, my all-time favorite episode has to be "Scorpion," simply for its intro. It the shortest intro of any Star Trek episode—about 15 seconds—but without a doubt the most impressive and impactful. Up until that episode, the Borg are the bad-asses of the galaxy, the most powerful race the Federation has discovered so far. We see two Borg cubes approaching with a voice-over of the Borg doing their usual spiel: "your existence as you knew it is ended, you will adapt to service us, resistance is fut..." and then bolts of energy from off-screen completely obliterate the Borg cubes. Cut to title scene. We don't see the attackers. I've seen that episode many, many times and the intro still awes me for its visual impact and how succinctly it conveys the idea that there's someone out there worse the Borg.
D.E. in Atlanta, GA: For this exercise, I'll go outside the box to a series that wasn't nearly as good as the other three: Voyager (sorry, I don't believe that just because a show takes place on a space station, that it is inferior to one where a ship thousands of light years from the Federation almost never ran out of supplies and the holodeck runs nonstop featuring the Irish countryside). Concerning Enterprise, it may only have had five good episodes over its entire run and I can barely remember them.
"The Thaw" features one of my greatest fears in life: clowns. Played exceptionally well by Michael McKean, he is a (spoiler alert) computer program that was supposed to create a utopia for survivors of an event that destroyed their world. Instead, it plays on their fears and is able to kill them for its own amusement. Think Pennywise, but more articulate and a better dresser. It has some great interactions between the Doctor and the clown and ends with a badass Janeway scene.
Now that I've remembered this episode, I'm going to call my therapist and schedule an appointment.
P.J.T. in Raton, NM: Enterprise's "Dear Doctor" came to mind. Star Trek has thrived by posing difficult moral and ethical dilemmas, and the consequences of this one were catastrophic, whatever the outcome of Dr. Phlox's decision.
Also, Voyager's series finale, the two-part "Endgame," in which the conflict between Janeway (and 7 of 9) and the Borg Queen finally comes to a head.
Next week, we will have responses about the "third generation" Trek series.