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New Podcast! The Pensky File – Star Trek: Deep Space Nine, Season 4, Episode 10 (“Our Man Bashir”)

The Pensky File will return…

Thrilled to join Wes and Clay over at The Pensky Podcast for another episode of their look at Star Trek: Deep Space Nine. The dynamic duo are fast approaching the midpoint of the fourth season, one of the greatest seasons of television in the Star Trek canon and probably one of the greatest twenty-odd episode seasons of television ever produced.

I was particularly excited to join the pair for a discussion of Our Man Bashir, an episode in which Bashir and Garak become embroiled in a life and death struggle while playing out one of Bashir’s spy fantasies. My position on Our Man Bashir is pretty out there, but I genuinely believe that it’s one of the best episodes of Star Trek ever produced. Do I manage to convince Wes and Clay? You’ll have to listen to find out.

Along the way, we discuss everything from the popularity of James Bond in America, to the evolution of Julian Bashir as a character, to the economics of the holosuite to Avery Brooks’ distinctive performance style. It was, as ever, a huge pleasure and privilege to join the two for the discussion.

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 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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