The Future Will Be Carpeted

The Future Will Be Carpeted (158)

 

“Females and finances don’t mix.”
    -- Rule of Acquisition #94

What is the purpose of the Ferengi? When you’re creating a work of fiction, entire alien races become tools of the types of stories you’re trying to tell. Aliens will take on monolithic forms of some aspect of human culture the writer wants to talk about, whether to critique, lampoon, or throw a little light on it. In early development, aliens tend to have a single, defining trait, known in writers’ circles as their hat (mostly because we as writers are unfamiliar with what hats do). So, Klingons wear the warrior hat, Vulcans wear the emotionless logical hat, Romulans wear the sneaky treacherous hat, and so on. Like I said, writers really don’t get headgear.

“Patience is for the young.”
    -- Tekeny Ghemor

In fiction, “family” has an awfully elastic definition. Tons of shows and movies are about groups of misfits banding together and calling themselves family. This never quite sat well with me. After all, “friend” is a far better compliment than “brother” ever will be. You choose friends. You’re stuck with brothers.

“Look out there. Millions and millions of stars. Millions upon millions of worlds. And right now, half of them are fanatically dedicated to destroying the other half. Now, do you think, if one of those twinkling little lights suddenly went out, anybody would notice? Suppose I offered you ten million bars of gold-pressed latinum to help turn out one of those lights. Would you tell me to keep my money?”
-- Gaila

“You can’t go through life trying to avoid getting a broken heart. If you do, it’ll break from loneliness anyway.”
    -- Dr. Julian Bashir

“There’s no stigma attached to success.”
    -- Dr. Julian Bashir

I’m guessing about 90% of people reading this know what retcon is, but since the remaining 10% don’t and are my mother, I’ll go ahead and explain. Retcon is an adorable abbreviation of Retroactive Continuity, which is a phenomenon found in long-form fiction and most prevalent in comic books. Essentially, something is revealed about a character or situation, and whatever this change is, has been true all along. For example, when Magneto was introduced, he wasn’t a Holocaust survivor, but later writers have made him such and it’s now an indelible element of his character.

“Five years ago, no one had ever heard of Bajor or Deep Space Nine and now all our hopes rest here.”
    -- Chancellor Gowron

Occasionally, the writers will not have the same opinion of an episode I do. They were slightly disappointed in this two-parter, which I have said, is my favorite episode(s) of Season 5. Their problem was the pacing which arguably is the “problem” with the two-parter in Season 3 this is something of an unofficial sequel to. The first part is much slower, setting up the dominoes, while the second part moves like a giant rock trying to turn Indiana Jones into a handsome pancake.

“Sentiment is the greatest weakness of all.”
    -- Elim Garak


From the writers’ perspective, the story of the fifth season has been getting DS9 back on track. The fourth season was designed to bring in new viewers, and it did that by becoming more like other Trek installments, pushing the Dominion into the background in favor of the more recognizable Klingons. At this point, the brass was well and truly concentrating on Voyager, either pleased with the increased viewership of their odd stationary offspring, or resigned to the modest audience they already had. When I watched DS9 for the first time, week-to-week, I could not have been more happy that we were back to the good stuff. Especially because they decided to kick off the Dominion War in a two-parter, that a) prominently featured my favorite character and b) was a direct sequel to my favorite episode(s) of season 3.

“I think it’s time for me to become the villain.”
    -- Captain Benjamin Sisko


If there’s one thing any study of history will teach you, it’s that terms like “hero” and “villain” are largely a matter of perspective. Sure, there are outliers (pretty much entirely on the villain side) who most non-sociopaths can all agree were bad, but, for the most part, one culture’s noble defender of freedom is another culture’s bloody handed madman bent on destruction.

“Spare the rod, spoil the child.”
    -- Dr. Mora Pol

It was inevitable that DS9 should be more preoccupied with family than any other Trek property before or since. Familial relations are important, and the stationary setting and serialized elements guaranteed the writers would explore the family trees of their vast array of characters. Sisko’s relationship with Jake is central (though thankfully never overpowering) to the show, and Sisko’s father is a welcome, if infrequent, presence. Quark’s brother and nephew are nearly regulars, and even his mother reoccurs. Gul Dukat mentioned his family on Cardassia, and his half-Bajoran daughter is an important character. Kira’s family history will be explored in an upcoming (and crushing) episode. The O’Briens are the most realistic married couple on television. Eventually, we even get into consummate mystery man Garak’s family.

“He wanted to protect the innocent and separate the darkness from the light. But he didn’t realize the light only shines in the dark. And, sometimes, innocence is just an excuse for the guilty.”
    -- Major Kira Nerys


As much as DS9 was, if not directly influential, certainly a harbinger for what television would become over the following decade, there is one thing it did that would never be done today: one of the main characters, the defining heroine, is a terrorist. While a show anchored by a terrorist is a natural fit in the era of the conflicted anti-hero, it’s pretty much impossible to imagine one getting such sympathetic treatment, and one being a woman. With very few exceptions (such as with the transcendent ‘80s spy show The Americans), morally questionable behavior is confined to male characters.

Page 4 of 12
Go to top