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New Podcast! The Pensky File – Star Trek: Deep Space Nine, Season 3, Episode 21 (“The Die is Cast”)

Following on from my look at Improbable Cause with Wes and Clay, I return to The Pensky Podcast to take a look at the unlikely second part of the two-part story.

We talk about “epic” storytelling on Star Trek, and the shifting of focus away from the Federation, as well as the internal politics of the Cardassians and the Romulans. We also talk about the unique strand of liberal humanism that runs through Star Trek: Deep Space Nine and the tragedy of so many of its alien characters who unable to ever go home again.

You can find more from The Pensky Podcast here, and listen to the podcast by clicking the link or just listening below.

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New Podcast! The Pensky File – Star Trek: Deep Space Nine, Season 3, Episode 20 (“Improbable Cause”)

I had great fun talking about Defiant with Wes and Clay at The Pensky Podcast.

So I was thrilled by invited back to talk over one of my favourite episodes of Star Trek: Deep Space Nine with the guys, the late third season two-parter Improbable Cause and The Die is Cast. It’s a brilliant story, in large part because (unlike a lot of Star Trek two-parters) it is very clearly two different stories that happen to neatly dove-tail into one another.

Improbable Cause is a fascinating character study of Elim Garak, following a botched attempt on his life that suggests more powerful forces at work. As Odo investigates the bombing of Garak’s shop, he gradually uncovers evidence of a much larger scheme. It was a pleasure to record, and I’ll be back next week covering the conclusion, The Die is Cast.

You can find more from The Pensky Podcast here, and listen to the podcast by clicking the link or just listening below.

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New Podcast! The Pensky File – Star Trek: Deep Space Nine, Season 3, Episode 9 (“Defiant”)

This weekend, I had the pleasure of dropping by The Pensky Files to discuss one of the more interesting episodes of the third season of Star Trek: Deep Space Nine.

Defiant is a gleefully insane episode of Star Trek, in which William Riker’s evil transporter duplicate hijacks the Defiant to lead a mission into the heart of Cardassian territory to expose a government conspiracy that might threaten the security of the entire Alpha Quadrant. Along the way, there’s discussions of terrorism and heroism, of missed family birthdays, and of just how absurd Picard’s log entries must sound when they are read aloud.

It was a pleasure to record with Wes and Clay, diving deep on everything from Riker’s “woman in need of relaxation”-dar to the franchise’s complicated attitude towards the Maquis. You can find more from The Pensky Podcast here, and listen to the podcast by clicking the link or just listening below.

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Deep Space Nine at 25 – The Most Humanist of (Star) Treks

On Earth, there is no poverty, no crime, no war. You look out the window of Starfleet Headquarters and you see paradise. Well, it’s easy to be a saint in paradise. but the Maquis do not live in paradise. Out there in the Demilitarized Zone, all the problems haven’t been solved yet. Out there, there are no saints — just people.

– Benjamin Sisko, The Maquis, Part II

Star Trek: Deep Space Nine is contentious.

Writer Ronald D. Moore has talked about the franchise as the bastard stepchild of the Star Trek franchise. Star Trek: The Next Generation actor Marina Sirtis has described it as little more than a hotel in space and not worthy of the franchise name. While the show was still on the air, Majel Barrett Roddenberry took the time to write a public letter denounced the show and its perceived connection to her husband’s legacy. This argument rages on-line even today, as fans argue about the series’ legacy and its place in the broader canon.

The charges against Deep Space Nine are clear. It is generally regarded as the most cynical of Star Trek spin-off shows, the series most likely to question and interrogate the underlying assumptions of the Star Trek universe. Deep Space Nine was the series that introduced and developed the Maquis, terrorists who splintered off from Starfleet. Deep Space Nine introduced the concept of Section 31, and the idea that Starfleet might be dangerous if left to its own devices. Deep Space Nine devoted its final two seasons to a war arc, a rejection of Roddenberry’s utopia.

However, these arguments are all based upon awkward presuppositions that reveal a lot about the assumptions of Star Trek fandom, and which tend to miss the forest for the trees. Deep Space Nine is a deeply humanist and optimistic piece of television, one has a great deal of faith in its cast and in people. As wary as Deep Space Nine might be about institutions and authority, Deep Space Nine fundamentally believes that people are good and that it is possible to peacefully coexist. The show simply acknowledges that this takes work, but believes it can happen.

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Deep Space Nine at 25 – The Most Multicultural of (Star) Treks

Star Trek: Deep Space Nine is the first (and perhaps only) multicultural Star Trek.

Ironically, Deep Space Nine is often derided by traditionalist fans for eschewing core Star Trek principles. Deep Space Nine was the first (and only) Star Trek series to unfold on a space station rather than a space ship, boldly sitting rather than boldly going. More than that, Deep Space Nine was the first Star Trek series to embroil the Federation in an active war, notwithstanding the Klingon or Romulan Cold Wars nor the Cardassian Wars that retroactively took place during the early seasons of Star Trek: The Next Generation.

However, in a very real and substantial way, Deep Space Nine was also the Star Trek series that hewed most closely to the humanist principles of Gene Roddenberry’s Star Trek. It could reasonably be argued that Deep Space Nine simply made an effort to interrogate and to explore premises that Roddenberry never properly considered. At its core, Star Trek had always been about embracing the unknown with open arms and about learning that what was different was not always scary or monstrous. Deep Space Nine embraced that.

Deep Space Nine was not a series about a bunch of explorers looking “to boldly go” in any literal sense, but about a bunch of characters struggling to fundamentally understand “new life forms and new civilisations.” More than the other Star Trek series, Deep Space Nine was about embracing other cultures and values, about recognising that differences could enrich as much as divide, and that there was no single “right” way build a better world. Deep Space Nine is an ode to humanism and compassion, embodying many of the virtues other Star Trek shows nod towards.

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Deep Space Nine at 25 – The Most Timeless of (Star) Treks

This may be the last time we’re all together. But no matter what the future holds, no matter how far we travel, a part of us – a very important part – will always remain here, on Deep Space Nine.

– Benjamin Sisko, What You Leave Behind

Star Trek: Deep Space Nine turned twenty-five this week.

Deep Space Nine is an important addition to the Star Trek canon in a number of respects. It was the only Star Trek series to air as a secondary series, its entire seven-season run coinciding with the broadcast of other weekly Star Trek series; its first two seasons overlapping with the final two seasons of Star Trek: The Next Generation and Star Trek: Voyager. It was also the last Star Trek series to air in syndication. It was arguably marked the point at which the viewing public lost interest in Star Trek during the nineties, the first Star Trek spin-off to lose its audience over its run.

However, Deep Space Nine was also memorable in other respects. It was the first Star Trek series not to take place on a ship named “Enterprise”, and the first not to take place on a ship at all. It was the first Star Trek series to embrace the possibilities of serialisation. It was the Star Trek cast with both the most diverse core cast and the widest ensemble, with an impressive collection of recurring actors and characters fleshing out the world. It was also arguably the only Star Trek series to truly embrace multiculturalism, with several episodes focusing exclusively on Klingon or Ferengi characters.

Still, the most enduring aspect of Deep Space Nine is how enduring it feels. At twenty-five years old, Deep Space Nine still feels fresh and relevant. It is a series that has a lot to say about the current moment, but it also had a lot to say about the moment before that. Deep Space Nine was undoubtedly a product of its time, but never feels as consciously wedded to its cultural context as the other Star Trek series. Ironically for the only Star Trek series to really engage with the idea of time, and the importance of forward movement through time for its character, Deep Space Nine is strangely timeless.

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Star Trek: Deep Space Nine – Season 7 (Review)

The seventh season of Star Trek: Deep Space Nine is a remarkable accomplishment.

The seventh season is not perfect by any measure. Taken as a whole, it lacks the consistency that made the fifth season one of the best twenty-odd-episode seasons of television ever produced, particularly in a dire mid-season run of episodes that includes Prodigal Daughter, Field of Fire and The Emperor’s New Cloak. The fifth season (and even the sixth) never hit a run of three consecutive episodes that drag that hard. Similarly, there are moments when the production trips over itself during its epic run of ten closing episodes.

Similarly, it lacks the sheer quantity of all-time great episodes that made the sixth season so exciting and compelling, like that opening six-episode arc or Far Beyond the Stars or In the Pale Moonlight. However, the seventh season does quite well for itself; episodes like Treachery, Faith and the Great River, Once More Unto the Breach, The Siege of AR-558, It’s Only a Paper Moon, Chimera, Inter Arma Enim Silent Leges and Tacking Into the Wind are massively underrated and count among the best episode that the franchise ever produced.

However, the seventh season has a very clear sense of direction and purpose. After all seven years is a long time on television. By the time that the other Star Trek series hit that mark, there was a sense of exhaustion creeping in around the edges. The final season of Star Trek: The Next Generation often felt aimless and meandering, the production team waiting to transition to feature films. The final season of Star Trek: Voyager felt similarly worn out, a faded photocopy of an approach that had worked on the previous three seasons.

In sharp contrast, the seventh season of Deep Space Nine knows roughly where it is going. From the opening scenes of Image in the Sand, the production team are cognisant of the fact that the curtain will be coming down at the end of the season. As a result, the seventh season is written with an ending in mind. The writers might not have known that ending from the outset, and were still working on it even during the sprawling final arc at the end of the year, but they knew that it existed and was waiting twenty-six episodes in the future.

As a result, the seventh season of Deep Space Nine has a very strong sense of identity and compelling sense of urgency. These attributes distinguish the season the final years of The Next Generation and Voyager, but also mark it out as one of Deep Space Nine‘s (and the franchise’s) strongest years.

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