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Star Trek: Deep Space Nine – In the Pale Moonlight (Review)

I can live with it.

I can live with it.

– Captain Benjamin Lafayette Sisko, Stardate 51721.3

In the Pale Moonlight is a masterpiece.

There is simple no way around it. It works beautifully as a morality play, as a thriller, as a character study. It has a powerful script, a set of brilliant performances, a memorable set-up and pay-off. In the Pale Moonlight is a fantastic piece of television production, something that immediately distinguishes itself from the episodes around it. Like The City on the Edge of Forever or The Inner Light, there is just something fundamentally different about In the Pale Moonlight from the establishing shots.

In many ways, In the Pale Moonlight is the flip side of the coin to Far Beyond the Stars. Both are spectacular episodes of television, and stand as some of the best entries in the franchise canon. However, there are clear differences. While Far Beyond the Stars would not work with any other lead character or actor, it is an episode that is arguably quintessentially Star Trek; it is a powerful allegory about racism and the power of an optimistic future. In contrast, In the Pale Moonlight is specifically Star Trek: Deep Space Nine.

In the Pale Moonlight is an episode of Deep Space Nine that simply could not exist in any other Star Trek show. This could never have been an episode of Star Trek: The Next Generation or Star Trek: Voyager. The episodes that edge closest to this – like The Pegasus or The Omega Directive – lack the same commitment to the premise. Star Trek: Enterprise arguably came closest with the script for Damage, but even that lacked the powerhouse focus of In the Pale Moonlight.

As the title implies, In the Pale Moonlight is a story about what it takes to dance with devil. It is told against the epic backdrop of the Dominion War, against the scale and spectacle of the sixth season of Deep Space Nine, but the real drama of In the Pale Moonlight unfolds in one man’s confession. This is the story in which the Romulans join the war effort, but it is not a story about the Romulans joining the war effort. It is a story about how Captain Benjamin Sisko sets a price for his own self-respect and his own self-regard.

In the Pale Moonlight is that most personal of dramas, the story of a man who bargains away his soul for a far cheaper price than he expects.

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Star Trek: Enterprise – Damage (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This August, we’re doing the third season. Check back daily for the latest review.

The stock comparison for Damage is In the Pale Moonlight.

This makes a great deal of sense. After all, both are Star Trek episodes that hinge on a series of morally questionable decisions made by the lead actor in a moment of sheer desperation. In In the Pale Moonlight, Benjamin Sisko starts a chain of events that builds towards the assassination of a Romulan Senator to trick the Romulans into joining the war effort. In Damage, Jonathan Archer resorts to piracy in order to obtain the parts necessary to make a meeting with Degra in order to plead against the use of the Xindi weapon.

A met a man who wasn't there...

A met a man who wasn’t there…

There are some notable differences, of course. In purely practical plotting terms, Sisko dominates the narrative of In the Pale Moonlight; the entire story is related directly by Sisko to the audience in the form of a personal log. In contrast, Damage is split between the demands of Archer’s own arc in the episode and various other continuity elements; the episode needs to get Archer back to his ship and devote a considerable amount of time to T’Pol’s addiction. As a result, it lacks the keen focus that made In the Pale Moonlight so compelling.

At the same time, there is something much more direct about Damage. Sisko is quite detached from the horrors of In the Pale Moonlight, with the audience insulated from his choices through the use of a framing device and Sisko himself insulated through his use of Garak to conduct all the unpalatable actions. In contrast, Archer makes a point to bloody his own hands over the course of Damage. He doesn’t have somebody else to make the decision for him; he leads the boarding party himself.

Everything comes apart...

Everything comes apart…

It is a very bold an unsettling choice, a culmination of a character arc that has been pushing Archer towards this sort of horrific choice since Anomaly. The third season of Star Trek: Enterprise has not been entirely consistent when it comes to its character arcs, working better in broad strokes than in fine detail. Nevertheless, Damage represents a very clear commitment to the promise of the third season of Enterprise; an interrogation of the franchise’s core values in an increasingly morally ambiguous world.

Damage is a deeply uncomfortable and unsettling episode of Star Trek, but it is arguably a necessary one. It is, in many ways, a criticism of the moral absolutism that informs a lot of discussion about terrible situations, suggesting that reality is often a lot more complicated than people might hope it would be.

Drowning his sorrows...

Drowning his sorrows…

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Star Trek: The Next Generation – The Sky’s the Limit: Suicide Note by Geoff Trowbridge (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films.

Suicide Note is another one of those great “expanding from dangling plot threads left at the conclusion of an episode of Star Trek: The Next Generation stories that are popular in tie-in media. In this case, writer Geoff Trowbridge is building off the end of The Defector, which saw Captain Picard receiving a suicide note from the eponymous defector Admiral Jarok. Jarok had asked Picard to pass the not on to his family, which was not possible at the time.

Of course, The Next Generation never really dealt with these threads, because – put quite simply – it wasn’t that kind of show. So it’s fun to pick up these threads and to try to recontextualise them in terms of everything that has unfolded since. In this case, Trowbridge is able to explore Jarok’s sacrifice in the context of the Federation and Romulan alliance towards the end of Star Trek: Deep Space Nine, in the wake of In the Pale Moonlight.

In keeping with Trowbridge’s The Chimes at Midnight, Suicide Note is structured as a critical exploration of American history, through the prism of Star Trek. While The Chimes at Midnight was a brutal deconstruction of the franchise’s roots in the Second World War, Suicide Note is framed in a more modern context.

tng-theskysthelimit

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