Dominion War | |||||||
---|---|---|---|---|---|---|---|
Part of Star Trek: Deep Space Nine | |||||||
| |||||||
Belligerents | |||||||
Federation Alliance
| Dominion Alliance
Supported by:
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Commanders and leaders | |||||||
United Federation of Planets: Klingon Empire:
Cardassian Liberation Front/Union:
| Dominion: Cardassian Union:
Breen Confederacy:
| ||||||
Strength | |||||||
1,500+ Klingon ships holding front lines near the end of the war, rest unknown | 30,000+ ships near the end of the war | ||||||
Casualties and losses | |||||||
Unknown | At least 7 million Cardassian soldiers, other losses unknown | ||||||
800 million Cardassian civilians killed by Dominion |
The Dominion War is an extended plot concept developed in several story arcs of Star Trek: Deep Space Nine, an American science-fiction television series produced by Paramount Pictures. In the fictional Star Trek universe, the Dominion War is a conflict between the forces of the Dominion, Cardassian Union and, later, the Breen Confederacy against the Alpha Quadrant alliance of the United Federation of Planets, the Klingon Empire and, later, the Romulan Star Empire.
The primary setting of much of the series is aboard the fictional Starfleet-controlled space station Deep Space Nine, located adjacent to the mouth of a stable wormhole near the planet Bajor. In the series this space station was moved so it was situated near a wormhole which provided instantaneous travel to the Gamma Quadrant, a region on the other side of the galaxy. During season two of Deep Space Nine, the Dominion is introduced. Over the course of season two and three, more information about the Dominion is introduced, until the conflict escalated in season four, particularly in the episodes 'Homefront' and 'Paradise Lost'. The Dominion War arcs present themes that challenge the values of the characters in a manner not attempted in earlier series of Star Trek, and have received a mixed critical response. Developing the plot of the Dominion War also altered how the series was scripted, shifting the emphasis from an episodic to a serialized narrative format.
Apr 07, 2018 That story is known as the Dominion War. While Deep Space Nine has some amazing non-Dominion-centric episodes, you can’t really watch the show without feeling the Dominion’s presence. The Dominion War is the core story underlying the entire series, so it deservedly caters a lot of attention. Today marks the 25th anniversary of Star Trek: Deep Space Nine. Its about time the series got its due from fans.Star Trek: Deep Space Nine is a series that's often forgotten by fans. There were no.
- 3Development
- 4Reception
- 5Tie-in media
- 5.1Novels
(DS9: 'By Inferno's Light') By the end of the year, open war erupted between the Dominion and a joint opposition consisting of the United Federation of Planets and the Klingon Empire. (DS9: 'Call to Arms') The Dominion made rapid gains in the opening months of the war, beginning with the siege of Deep Space 9 and the wormhole. Having been captured by the Breen, Ezri and Worf still don't know why the Breen would even bother to capture them. Some Cardassians are beginning to think their alliance with the Dominion was a grave mistake. Gul Dukat, disguised as a Bajoran, sets foot on DS9, and continues to unfurl his plan.
Synopsis[edit]
In 'Emissary', the pilot episode, the United Federation of Planets dispatches Commander Benjamin Sisko to take command of the space station Deep Space Nine.[1] During the episode, it is discovered that the station is located near a stable wormhole located in the Alpha Quadrant, which leads to the Gamma Quadrant of the Milky Way Galaxy, nearly 70,000 light years away. Deep Space Nine is moved from the orbit of the planet Bajor to the Alpha Quadrant terminus of the wormhole to lay claim. Starships begin to enter the wormhole to explore, colonize and trade. The crews on the ships were unaware that they are entering a region of space controlled by the Dominion, a union of planets ordered by force and intimidation.[1]
Deep Space Nine's Ferengi bartender, Quark, makes contact with the Vorta, a Dominion member race. However, he and Sisko are captured by the Jem'Hadar, the soldiers of the Dominion. The Alpha Quadrant group is rescued, but the Federation ship USS Odyssey is lost in the attempt to return home, and colonies are destroyed as a warning not to re-enter Dominion space. Later, it is revealed that a race of shapeshifters, known as 'Founders', are the rulers of the Dominion, and that Constable Odo is of this species. Members of the CardassianObsidian Order and the RomulanTal Shiar intelligence factions plan to eradicate the Founders and their homeworld, but are themselves deceived by a shapeshifter and ambushed.
The Founders initiate a campaign of sabotage and terror against the Alpha Quadrant, which leaves many governments fearful of infiltrators, who are able to assume any physical form. When Earth is attacked, a band of Starfleet officers illegally attempt to impose martial law at the heart of the Federation. The Klingon Empire invades Cardassia on the incorrect assumption that the Dominion is influencing its government. Later, the Federation suspects the Klingon Chancellor, Gowron, of being a shapeshifter. This turned out to be a ploy by the Dominion so that the Federation would assassinate Gowron and further intensify the rift between the Federation and Klingons due to the Klingon invasion of Cardassia. During the assassination attempt, the Federation realized that Klingon General Martok was the actual shapeshifter. It would turn out that Martok, Dr. Julian Bashir and others have been held captive at a prison camp in the Gamma Quadrant while shapeshifters took their place in the Alpha Quadrant. Shortly before their escape, the Dominion succeeds in urging the Cardassians to enter an alliance during the confusion, establishing its presence in the Alpha Quadrant. Realizing the danger, the Federation and Klingons join forces to slow the Dominion build-up, co-operating to plant a minefield across the entrance to the Bajoran Wormhole as a rescued Martok is assigned as a permanent Klingon commander at Deep Space Nine.
Nevertheless, the Dominion begins to advance, and seizes control of Deep Space Nine. After a brief retreat, Sisko executes a successful return to the space station, but the wider conflict continues. More setbacks hinder the Alpha Quadrant alliance as additional races, such as the Breen, offer their support to the Dominion. Questionable tactics are adopted in the search for victory, including the dissemination of an engineered virus among the Founders by a shadow Federation group called Section 31 and the attempted genocide of the entire Cardassian race by the Dominion in response to a mutiny. A ruse involving a murder is used to enlist the help of the Romulans against the Dominion, and dissatisfactions lead the Cardassian leader, Legate Damar, to launch a successful resistance movement against his former Dominion comrades. Eventually, the Dominion is forced back to the planet Cardassia Prime where it is cut off from reinforcements. The female shapeshifter in command informs Odo that they would fight to the end to prevent any counter-attack by the alliance into the Gamma Quadrant. Odo assures her that the Federation would not do that while the other parties would be too weak to. After linking together, Odo cures the female shapeshifter of the biological disease afflicting her and the other Founders with the antidote he received and the Dominion agrees to surrender.
Conception[edit]
In 2002, Star Trek: Deep Space Nine producer Ira Steven Behr stated that unlike some plots, which originated from a single small idea, the creation of the Dominion villain and story arc was 'very much thought out.'[2] Behr said that the earliest mention of the Dominion was purposely planted in the comic Season Two Ferengi episode, 'Rules of Acquisition', to leave the audience with an impression of 'how important could it be?' It was decided that the Gamma Quadrant would need an ambience that would distinguish it from the Alpha Quadrant. The producers wanted to portray the region as something other than 'uncharted space', and avoid imitating the adventures of Star Trek: The Next Generation with another series of plots focusing primarily on themes of exploration.[3] After 18 months of Deep Space Nine exposition, the producers decided to characterize The Dominion as 'anti-Federation'. Writer and script editor Robert Hewitt Wolfe has explained that this move also distinguished Deep Space Nine from its successor series, Star Trek: Voyager, which stars a lost Federation ship traversing the chaotic and divided Delta Quadrant of the Milky Way.[2]
Instead of introducing one alien race, three were introduced simultaneously: the Changelings, the Vorta and the Jem'Hadar. These three were intended to represent the front of an ancient civilization coupled together by fear, to contrast with the unity of the Federation enabled by bonds of friendship. Behr, Wolfe, writer Peter Allan Fields and Jim Crocker attended meetings to develop the concepts of these species and found general inspiration in Isaac Asimov's Foundation Trilogy novels.[4] Executive producer Michael Piller suggested the idea that the Founders of the Dominion be the race to which Odo belongs, toward the end of Season Two production, and discovered that Behr and Wolfe had also discussed this possibility.[2][5] This character had been introduced with no knowledge of his true origins. Piller asserts the endeavor to create a new villain was one of the most difficult tasks he undertook in his work on Star Trek.[2] Wolfe perceives similarities between the fictional Founders and the Roman Empire, in that the species first uses diplomacy, deception and cultural imperialism to achieve their aims before ultimately resorting to coercion.[6] Wolfe also characterized the Dominion as a 'carrot and stick' empire, with the Vorta offering the carrot and the Jem'Hadar holding the stick.[7]
According to writer Ronald D. Moore, co-creator Rick Berman originally intended the Dominion War to be the focus of three or four episodes, but Behr intended to expand the plotline all along. Moore has stated that Berman sometimes questioned the writing staff about the degree of violence included in some episodes. Berman also expressed concern about the portrayal of long-term consequences for the main characters, such as the loss of a character's leg in Season Seven. The writers argued in favor of the increased violence, asserting that it was justified in view of the plotlines detailing the progression of the Dominion War.[8] Piller supported the idea that the repercussions of past episodes should continue to be felt, and that characters should 'learn that actions have consequences', even if such consequences were to lead off in directions Piller had not originally imagined when Deep Space Nine remained in the conceptual stages.[9][10] Moore has stated that the filming of Star Trek: Voyager occupied more of Berman and Piller's time from Deep Space Nine's third season, which allowed Behr to defend his creative decisions more successfully.[11] Following the completion of Star Trek: The Next Generation, the writing staff could dedicate more time to working on scripts for Deep Space Nine. The writers admired the scripting techniques used for Star Trek: The Original Series: Moore cites the episode 'Errand of Mercy' (1967) as a strong influence on his treatment of the Dominion War.[12]
Development[edit]
The plot of the Dominion War is presented in a succession of shorter story arcs which span Seasons Two through Seven of Star Trek: Deep Space Nine and are linked editorially by the decisions of the producers and writers.
Season Two: Introducing the Dominion[edit]
After conceptual meetings, the writers began to introduce allusions to the Dominion into episodes of Season Two. The intention was to gradually increase the audience's awareness that there was a large and pervasive polity at work behind apparently innocuous events in the Gamma Quadrant. The Dominion and its methods are revealed across three episodes of the season.[13]
'Rules of Acquisition' marks the first mention of the Dominion,[14] when the Ferengi character Quark hears whispers of a powerful union of civilizations in the Gamma Quadrant with which he may be able to trade. Dialogue that seems inconsequential within the framework of a light-hearted episode was planned to ultimately create major change in the dynamics of Star Trek: Deep Space Nine.[2]
As Alpha Quadrant races begin to colonize planets in the Gamma Quadrant and their presence becomes known, disturbing reports indicate that what the Dominion cannot attain through trade is forcibly seized. These reports are justified in 'Sanctuary', when a large fleet of Skrreea ships appears in the Alpha Quadrant, in search of a new homeworld in light of the conquest of their original planet by Dominion forces.[15] The actions of the Dominion are contrasted with the reactions of the regular characters to the Skrreea refugees. Executive producer Michael Piller has suggested that the plot evoked real-world debate surrounding Proposition 187, a Californian law concerning the rights of illegal aliens.[16]
The finale of Season Two, 'The Jem'Hadar', permitted writer Robert Hewitt Wolfe to surprise the audience and challenge their opinions concerning the safety of the Federation and Starfleet, when the USS Odyssey, a Galaxy-class starship similar to the USS Enterprise from Star Trek: The Next Generation, is outfought and destroyed.[2][17] The Dominion is revealed to be a ruthless empire, using 'carrot and stick' methods to control others, with three distinct races performing crucial roles.[18] The Dominion's Jem'Hadar shock troops capture Commander Sisko, Quark, and an alien named Eris, who is later identified as a double agent and one of the Vorta, the Dominion's negotiators and administrators. The Jem'Hadar send a Jem'Hadar representative to Deep Space Nine with the message that no further intrusions into Dominion space will be tolerated and to hand Major Kira Nerys a list of colonies and ships already eliminated for trespassing. The Federation dispatches a rescue team that returns Sisko's group to the station, but, while retreating back to the Alpha Quadrant, a Jem'Hadar ship launches a kamikaze run against the Odyssey, resulting in the destruction of both ships.[19]
Season Three: Introducing the Founders[edit]
With the third season, Ronald D. Moore and others started to write regularly for Star Trek: Deep Space Nine following the completion of Star Trek: The Next Generation.[11]Robert Hewitt Wolfe joined Ira Steven Behr in scripting episodes developing the Dominion plotline, beginning with 'The Search'. Behr became full executive producer at the midpoint of the season, after the departure of Michael Piller.
In the two-part season opener, 'The Search', Commander Sisko returns from Starfleet Headquarters on Earth with a Defiant-class prototype starship, the USS Defiant.[20] Executive producer Rick Berman had to be convinced that the introduction of the Defiant would not distract the audience from the main starship of the latest Star Trek production, Star Trek: Voyager. The decision was made on the basis that a ship was needed to provide an avenue for stories set off the Deep Space Nine space station and that such a vessel would need the potential to oppose the Jem'Hadar, who had already been portrayed obliterating large ships. Audience research had also suggested that young male viewers were hoping for more action-oriented episodes with greater jeopardy.[21]
Season Three's Dominion stories explore the connection between Odo and his people, and their conflicting attitudes toward 'solid' sentient lifeforms. The Defiant enters the Gamma Quadrant on a peace mission to locate the Founders in 'The Search', and it is discovered that the Founders are of the same race as Odo. Despite a burning desire to return to his home, he finds his people's philosophy – that which you can control cannot hurt you – abhorrent, and he asks to return to the Alpha Quadrant.[22] The Founders, led by a character identified only as the 'Female Changeling', acquiesce to Odo's request in the hope that he will ultimately rejoin them.[20][23]
Another facet to the Dominion was evaluated more closely in Season Three – the Jem'Hadar. In 'The Abandoned', a juvenile Jem'Hadar is found alone and matures under Odo's guidance. The crew of Deep Space Nine witness the Jem'Hadar's difficulty in adjusting to a society with rules different from those of his native culture. Avery Brooks, directing this episode, has emphasized the story as a metaphor for African-American adolescents in the 20th century and their struggles with addiction and violence, their integration into American society, and how their upbringing might contribute to these problems.[24] Brooks ensured that Odo continued to support the maturing Jem'Hadar despite the alien's regression to Dominion custom, as a commentary on how modern society should engage with young people.[25]
'Improbable Cause' initiates a two-part adventure concerning the search for the Founders' homeworld, which concludes in 'The Die is Cast'.[26] Following first contact with the Founders, the Obsidian Order – a covert Cardassian intelligence force – ally themselves with the Tal Shiar, their Romulan counterpart, and launch a secret, pre-emptive strike to destroy the Founders' homeworld, hoping that the Founders and the rest of the Dominion will collapse. The Dominion successfully lure the fleets of the Tal Shiar and the Obsidian Order into a trap, eliminating both organizations. The plot establishes an atmosphere of suspicion amongst the Alpha Quadrant powers, initiated by the shapeshifters' abilities to assume other identities, which forms the basis of plots for Season Four.[27]
The Season Three finale turned out to differ significantly from the production staff's conceptual vision. Paramount did not favor the idea of a season-end cliffhanger which would have revealed the presence of shapeshifters on Earth. To continue the theme of paranoia about shapeshifters and the Dominion, 'The Adversary' was instead scripted to set up a hunt for a Founder aboard the Defiant, incorporating some narrative elements at first intended to commence Season Four, while offering a more self-contained plot and using existing sets to reduce production costs.[28]
Season Four: Founder infiltration and political destabilization[edit]
Rick Berman, Robert Hewitt Wolfe, and Ira Steven Behr originally expected to open Season Four with the two-part adventure, postponed from the end of Season Three, that ultimately became 'Homefront' and 'Paradise Lost'. Paramount determined that the writers needed to come up with a much different opener to satisfy the audience but without giving specific instructions. The production staff decided to begin a plotline based around suspicions between the Federation and the Klingons, finally leading to conflict between the former allies, which was inspired by a line from the Season Three episode 'The Die is Cast'.[29] With the Klingons set to reappear, Berman suggested the return of a character from Star Trek: The Next Generation – the Klingon Worf – as a permanent officer aboard Deep Space Nine.[30] While both the new plot and character offered interesting possibilities, the producers felt that their vision for Star Trek: Deep Space Nine was put off-course for almost one year.[31]
Season Four begins with 'The Way of the Warrior', which marks the arrival of Worf. This episode is one of a few in this season to explore themes of suspicion and paranoia and their effect upon societies and relationships, building up to 'Homefront' and 'Paradise Lost'. After the events of 'The Die is Cast', fear about the identities of the infiltrator shapeshifters leads the Klingons to suspect Dominion involvement in the new Cardassian civilian government. Their refusal to break off an invasion, even after Dominion involvement has been disproved, results in a military confrontation and diplomatic breakdown, and the Klingons attempt to seize Deep Space Nine. This seems to further the Founders' goal of the destabilization of the Alpha Quadrant as a prelude to their own invasion.[32]
In 'Hippocratic Oath', the characters of Dr. Bashir and Chief O'Brien debate curing a group of Jem'Hadar soldiers of an addiction in the hope that they will rebel against the Dominion. There is discussion about the identity of the true enemy, the limits of duty, and whether soldiers are responsible for the actions of their leaders.[33] 'To the Death' further investigates the themes of soldier duty and loyalty, and it contrasts the opposing rules of discipline that regulate Starfleet officers and Jem'Hadar troops. In addition, this episode introduced the Vorta representative Weyoun, who would become the most prominent Vorta in the rest of the series.[34]
In 'Homefront', the mistrust generated by the shapeshifters continues, with Captain Sisko suspecting his own father and recommending a state of emergency be declared on Earth.[35] In 'Paradise Lost', some Starfleet officers go further and attempt to implement a coup d'état against the President of the Federation after it is revealed that shapeshifters have infiltrated Earth and committed a terrorist attack. This leads to an armed conflict between Starfleet vessels for the first time in a century, according to the Star Trek in-universe timeline.[36] Sisko is able to force Admiral Leyton to abandon his efforts to impose martial law by telling him: 'You're fighting the wrong war!'[37] Behr's favorite line from the episode is 'Paradise never seemed so well-armed', highlighting one of many occasions when Deep Space Nine would point out the practical issues revolving around maintaining the peaceful culture of the Federation and the moral or immoral choices made to achieve this ideal.[38]
Season Five: build-up to all-out war[edit]
In the fifth season, the Dominion invasion of the Alpha Quadrant gathers pace, appearing in episodes such as 'Apocalypse Rising', 'In Purgatory's Shadow', 'By Inferno's Light', and 'Blaze of Glory'. Robert Hewitt Wolfe and Ira Steven Behr were again responsible for the major Season Five episodes concerning the Dominion.[39][40][41][42]
In the Season Five opener, 'Apocalypse Rising', Odo discovers that his race is capable of deceiving their own kind, as well as 'solids', when he is led to believe that Klingon Chancellor Gowron is a Changeling instead of the General, Martok. This plot was planned to shift the focus of Star Trek: Deep Space Nine episodes back toward the struggle with the Dominion, which had been postponed in earlier production discussions with Paramount in favor of bringing Worf and a Klingon-based plotline into the series.[43][44]
In 'In Purgatory's Shadow', it is discovered that Dr. Bashir has been kidnapped, imprisoned for weeks, and, in the interim, replaced by a Changeling. The shapeshifter double sabotages efforts to close the Wormhole and attempts to destroy the Bajoran sun, leaving the path open for Dominion fleets to enter the Alpha Quadrant.[39] In the following episode, 'By Inferno's Light', the Cardassians become a member of the Dominion, and the Federation and Klingon Empire resolve to cast aside their mutual distrust and unite against the common threat. A garrison of Klingon troops is stationed on Deep Space Nine, under the command of the real General Martok, rescued from Dominion incarceration with Bashir.[40] In 'Blaze of Glory', the characters confront the issue of ethnic cleansing when the Maquis – a resistance group of former Federation citizens now living in Cardassian space – are hunted down and ask for the assistance of Sisko, who used to criticize their methods.[41]
The Season Five finale, 'Call to Arms', sets the scene for the commencement of full-scale war between the Dominion and the Federation during the final two seasons of Deep Space Nine. When the Dominion begins to send ships through the Wormhole, the Alpha Quadrant allies build a minefield at its mouth to cut off the supply line. The plot considers whether it is better for the planet Bajor to stand with their Federation friends or remain neutral in the coming war to protect themselves. Sisko persuades them that neutrality is the favorable course.[42]
Season Six: the war rages[edit]
Season Six, charting the turmoil of the Dominion War, faces themes of the moral dilemmas of conflict. New plot elements permitted Star Trek: Deep Space Nine to examine themes in a manner unlike preceding Star Trek productions, as characters are forced to re-evaluate their beliefs. The production staff resolved to start the season with a six-episode arc, the first attempted in the history of the Star Trek franchise.
Rick Berman originally pictured that the Dominion War would last for a limited number of episodes before a prompt resolution.[45] Planning the arc, Ira Steven Behr, Ronald D. Moore, and the writers conceived a longer chain of first five, then six connected episodes, stretching from 'A Time to Stand' to 'Sacrifice of Angels', as themes increased demands for greater narrative development.[46][47] No writer had previously contributed to a series involving arcs of such length, and Moore, Behr, and novice scripting partner & supervising producer Hans Beimler have all stated that the writing process changed as a result, with more production collaboration and interaction than for earlier seasons of Deep Space Nine.[48][49][50] The potential for serialization that Rick Berman had perceived from the start of Deep Space Nine came to fruition as a result of the multiple plotlines accumulating to form the Dominion War.[46]
The return of Gul Dukat as commander of the Dominion-controlled Deep Space Nine enabled the writers to contrast the space station of the audience's imagination to its incarnation as a former Cardassian mining facility. Former resistance fighter Major Kira is portrayed re-considering her ethical code as she sets out on the path to collaboration in 'Rocks and Shoals', but the suicide of a Bajoran monk reminds her of the reality of her situation. Through 'Rocks and Shoals', Deep Space Nine also revisits themes of war conduct as Sisko considers the morality of ambushing soldiers whom superiors have forsaken, only for events to force his hand.[51] In 'A Time to Stand' and 'Behind the Lines', the character of Odo is torn between the trust placed in him by Kira and the Bajorans, and his status as a Founder, when he joins Deep Space Nine's Dominion council and then neglects to help his comrades at a critical moment.
Fortune is reversed again in Season Six as Starfleet re-captures Deep Space Nine in the closing episodes of the opening arc, 'Favor the Bold' and 'Sacrifice of Angels'. The USS Defiant stands alone in an attempt to hold back thousands of Dominion ships entering through the Wormhole. An intervention from the Wormhole Prophets, considered gods by the Bajorans, leads characters to ponder questions of faith and destiny.[52] Writer Hans Beimler wished to include mythologicalallusions, stating, 'It's tragic hero stuff. A hero [Sisko] takes on things for others, but doesn't necessarily find any peace himself in the result.'[53] Ira Steven Behr compares Sisko to the Biblical figure Moses, who fails to reach the Promised Land, and to the character of Ethan Edwards from the Western film The Searchers (1956), who neglects to return to his family once his task is complete.[53] It was determined that this facet to Sisko's character justified the use of divine intervention to resolve the Dominion threat:[54] the fleet disappears and the Federation regains control of Deep Space Nine. The defeat costs Dukat his mental health, the life of his daughter, Tora Ziyal, and his status as Cardassian leader. Dukat is the first, but not the only, character in Season Six to face the pain of loss in conflict. Later, in the season six finale 'Tears of the Prophets', Worf loses his wife Jadzia Dax when she is killed by Dukat.
Although themes of death are apparent in Deep Space Nine's previous seasons, 'Far Beyond the Stars' details how Sisko copes with the loss of a friend on a deeper psychological level. Experiencing visions of himself confronting racial discrimination against Black Americans in the 1950s, Sisko interprets useful parallels connected to his life on Deep Space Nine.[55] Sisko's response to the death toll of the Dominion War is re-examined in 'In the Pale Moonlight'.[56]
Additionally, Season Six introduces Section 31, a secret organization dedicated to preserving the Federation's principles regardless of the cost and legitimacy of its methods. In 'Inquisition', the character of Dr. Bashir refuses to join Section 31 and reports its actions, but still ponders its significance: 'But what would that say about us? That we're no different than our enemies? That when push comes to shove, we're willing to throw away our principles in order to survive?' Sisko replies, 'I wish I had an answer for you.'[57][58]
'In the Pale Moonlight' considers a similar moral dilemma when the Dominion captures an important Federation planet, Betazed, in a surprise attack. The subjugation of a planet familiar to the audience was used to heighten the sense of danger and the stakes for the characters.[59] In this episode, Sisko fuels a conspiracy intended to improve the war situation that ultimately results in the character of Elim Garak committing murder. In the context of the Dominion War, it is resolved to conceal the truth for the greater good.[56][60] Writer Michael Taylor has suggested, 'It showed how Deep Space Nine could really stretch the Star Trek formula. It pushes the boundaries in a realistic way, because the decisions Sisko makes are the kinds of decisions that have to be made in war. They're for the greater good.'[61]
Season Seven: end of the war[edit]
Season Seven charts further dilemmas of conflict. Following the example of Season Six, the writers considered using an arc to conclude the multiple Dominion War threads in satisfying fashion, deciding that Star Trek: Deep Space Nine could not be concluded in one or two episodes alone.[62][63] A ten-episode arc was outlined to end Season Seven, the Dominion War, and all of Deep Space Nine, and more alterations were made as scripting progressed.[64]
Characters face issues of genocide: in 'Treachery, Faith, and the Great River', Constable Odo learns of the engineered virus that Section 31 has disseminated among the Founders,[65] and in 'When It Rains..' that Section 31 has infected him to communicate the disease.[66] While Dr. Bashir supports providing the Founders with a cure, others are unconvinced.
In “Penumbra”, it is revealed that the Dominion is receiving logistical support from the Son'a, who begin production of the Ketracel-white needed for the Jem'Hadar. Another opponent reveals itself when the Breen Confederacy signs a pact with the Dominion in 'Til Death Do Us Part'. For 'The Changing Face of Evil', writers Ira Steven Behr and Hans Beimler scripted a second strike against the Federation through a Breen assault on Earth. Later, with the addition of their new Breen allies, the Dominion retake the Chin'toka system, which sees the destruction of a number of Klingon, Romulan and Federation ships including the USS Defiant. Ronald D. Moore has stated: 'We wanted to kill the Defiant as a statement on how tough the Breen were. We thought that would rock the characters and the audience.' Behr explains that, '.. the ship had become a character that had caught on in people's hearts and minds .. when the Defiant went down, that hurt.'[67][68]
The resurgence in the conflict provided opportunities to introduce problems such as post-conflict psychological trauma in 'The Siege of AR-558'[69] and injury when the character of Nog undergoes leg amputation in 'It's Only a Paper Moon'.[70] Moore has said that the plot of this episode was agreed on after an 'extended argument' between Behr and Deep Space Nine creator Rick Berman and that such discussions were a common occurrence when war casualties were considered.[8] Michele and Duncan Barrett perceive the allusions made to the traumas of World War I.[71]
The concept of resistance is re-opened in the context of Cardassia rather than Bajor. Legate Damar becomes more and more frustrated with the deadlocked conflict and his situation as a Dominion puppet.[72] As Cardassian military losses mount and Dominion control of Cardassia deepens, he becomes alcoholic and criticizes the Dominion's power. Damar was originally to be revealed as a double agent for the Federation, but Moore then suggested the slave revolt of Spartacus as a model.[73] Damar establishes an underground resistance movement, is branded a rebel, and goes into hiding. Kira, Garak, and Odo are sent as 'technical advisors' to help him in 'When It Rains..'.[66]
The relationship between Cardassians and Bajorans, former enemies turned allies, is charted in 'Tacking Into the Wind', in which Damar and Kira's group abandon prejudice and collaborate to seize a Breen weapon.[74] Continuing into 'The Dogs of War', Damar is forced to choose between his Cardassian comrades, stubborn in their beliefs, and the support of Kira and others whom he used to consider enemies.[75][76] As the tide turns against the Dominion, cut off from the Gamma Quadrant and without technological advantage, a last stand is prepared.[76] The Female Changeling orders the destruction of a metropolis, Lakarian City, to coerce the Cardassians back into line, but, instead, the Cardassian fleet defects, passing the advantage to the Alpha Quadrant alliance.[77] Consequently, an attempted extermination results in the deaths of 800 million Cardassians in a Dominion bombardment.[77]
Allusions to genocide contrast with ethical discussion concerning the engineered 'Founders disease' and a potential cure. In 'Extreme Measures', the characters of Dr. Bashir and Chief O'Brien locate a treatment inside the mind of Section 31 agent Luther Sloan. A moral debate ensues on what constitutes genocide. While Bashir supports offering a cure to the Founders, Sisko determines that the disease should be left to continue crippling the powerful opposition. However, in 'The Dogs of War', Odo declares that this amounts to genocide of his species and is handed a treatment by Bashir.[78] In return for the Dominion's peaceful surrender, and the arrest of the Female Changeling on charges of war crimes, the Alpha Quadrant alliance permits Odo to heal the rest of his people.[79]
The Treaty of Bajor is signed aboard Deep Space Nine in the Season Seven finale, 'What You Leave Behind, Part II'. The conclusion to the Dominion War arc formed the resolution to Deep Space Nine as a series, and a moment for the production staff to settle the destinies of the main characters. Berman and Behr agreed with Paramount that the final episode of the series should concentrate on human drama rather than the endgame of the Dominion War.[80] Moore opines the production staff succeeded in ensuring the Dominion War acted as a means of deepening characterization.[81] Although further plots would have been scripted had Deep Space Nine continued into an eighth season, Behr accepted the resolution of the Dominion War at the end of Season Seven.[10]
Reception[edit]
Former cast members and production staff[edit]
In a 2007 interview with iF magazine, George Takei, who played Hikaru Sulu in Star Trek: The Original Series and its films, described Star Trek: Deep Space Nine as representing the 'polar opposite' of Gene Roddenberry's vision and philosophy of the future.[82] Writer D. C. Fontana has stated in an interview that Roddenberry would have admired the later series for its dark themes, referring to Roddenberry's military service record in World War II.[83]
Roddenberry doubted that a series concentrating on themes aside from space exploration could endure, and voiced displeasure with initial concepts for Deep Space Nine presented to him in 1991. Rick Berman has explained that Roddenberry, although terminally ill, had given him his blessing for its development, but that he had no opportunity to discuss any of the ideas with Roddenberry.[61]
Critical reception[edit]
John J. O'Connor, writing for The New York Times in January 1993, noted that pre-release advertisements for Star Trek: Deep Space Nine offered 'a new Star Trek era' and added, 'Welcome to the Dark Side. The determinedly optimistic Mr. Roddenberry was partial to plots that made uplifting moral points. The new creators and executive producers, Rick Berman and Michael Piller, are shooting, so to speak, for something more ambivalent, less perfect.'[84] In September 1996, before the start of Season Four, O'Connor was not sure the series was tackling contemporary themes adequately. He wrote, 'Inevitably, though, there is an element of exhaustion seeping through the concept. With the Cold War over, perhaps the Roddenberry optimism seems merely naive as headlines bring news of murderous divisions between Serbs and Muslims, Kurds and Turks, Israelis and Palestinians, Irish Catholics and Protestants, and so on across an increasingly depressing globe. Star Trek offered a vision that leapt 300 years into the future. For too many people today, three years would seem a stretch.'[85]
Cynthia Littleton, writing for Variety in 1998, summarized the ratings the series was receiving at the end of its sixth season: 'Deep Space Nine may not go out on as high a Nielsen note as Next Generation, which wrapped a hugely successful run in 1994, but DS9 is hardly floundering. The series, which bowed in January 1993, consistently ranks among the top three first-run syndication hours in household and demographic ratings.'[86]
In a 1999 edition of the Australian science-fiction magazine Frontier, Anthony Leong suggested that Deep Space Nine had not initially been envisaged to include a war story arc from the beginning. He demonstrated a preference for the how the plot of Babylon 5 had been devised, while acknowledging how the Deep Space Nine writers had developed a continuing plotline: '.. it is rare for a series creator to envision how the series will develop over time. Furthermore, the creative process in dramatic television writing tends to be organic, as events in the series will unfold based on the events that preceded it. For example, were the wars with the Klingons and the Dominion on Deep Space Nine foreseen by its creators back in the first season? Of course not .. these events developed over time through the input of its writing staff.'[87]
In 2008, Nader Elhefnawy, contributor to The Internet Review of Science Fiction, asserted that, while less appreciated than other science-fiction series of the 1990s, Deep Space Nine had developed an interesting cast of characters, 'thanks to the Dominion War, much of the richest and most exciting drama in the Star Trek franchise's history.'[88]
Owen Williams, writing for Empire magazine, opines that Star Trek as a whole has been slow to adapt and develop to new trends, while singling out Deep Space Nine for special mention: '.. arguably even the ace DS9 only got good in response to Babylon 5 ..'[89] Adam Smith, chief features writer for Empire commented in a 2009 article that, 'It's hard to choose the best episodes of DS9 without mentioning the stories involving the Dominion War.' He reported 'The Search', 'In the Pale Moonlight' and 'Far Beyond the Stars' as the features staff's favorite episodes for their portrayal of darker themes and creating a change in direction.[90]
Star Trek: Deep Space Nine was nominated at the Academy of Science Fiction, Fantasy & Horror Films for a Saturn Award, from 1997 to 2000, in Best Genre Cable or Syndicated Series. It was nominated in technical and artistic categories at the Emmys in each season. Cinescape columnist Andrew Hershberger remarked in 2003 on the lack of critical success for science-fiction television: 'Nobody cool would dare vote for a sci-fi show [for Outstanding Drama Series] that didn't have [Stanley] Kubrick or Chris Carter's name attached to it .. If Deep Space Nine was involved, you'd hear some real complaining on this end.'[91]
In 2016, a reviewer at The Washington Post applauded the Dominion War saga for being the 'richest narrative in the entire [Star Trek] universe.'[92]
Academic perspectives[edit]
Academics have noted how the Dominion War plotlines have explored the human psyche as much as outer space. Lincoln Geraghty praises the ending to the story arc and Star Trek: Deep Space Nine as a series, and believes this is indicative of how the series manipulates the Star Trek ethos, identifying a theme of ambiguity as part of its continuing narrative.[93] Karin Blair, writing in 1997 at the time of Season Five, felt that the series was reflecting trends for American culture to re-consider its place in the global community.[94] Michele and Duncan Barrett comment on the 'declining faith in rationalism that haunts Deep Space Nine' in their book Star Trek: The Human Frontier.[95]
In contrast, Robert Jewett and John Shelton Lawrence, authors of The Myth of the American Superhero, argue that the Dominion War plotlines in Deep Space Nine continue Star Trek's portrayal of 'humanistic militarism', in that conflict is justified for the sake of humanity.[96] Criticism is levelled at Paramount's tie-in merchandising, in particular the slogan for the computer game Deep Space Nine: Dominion Wars, which is considered to emphasize the combat element at the expense of other themes.[97]
While television commentators and fans have noted associations with the Yugoslav Wars in the 1990s, some academics have noted parallels between the portrayal of the Dominion War and other historical conflicts. Michele and Duncan Barrett identify a number of themes relating to World War I in Star Trek, especially 'in the bleak and costly alliances and endless casualty sheets that characterize the protracted Dominion War in DS9.'[71]
Tie-in media[edit]
A number of novels, novelizations, and anthologies have been written to chronicle events of the Dominion War outside of canon:
Novels[edit]
The Dominion War (1998–2004)[edit]
Star Trek: The Dominion War crossover miniseries explores events leading up to the Dominion War. Two novels focus on the crew USS Enterprise. A Call to Arms (1998) and Sacrifice of Angels (1998) are based on seven interlinked episodes from Deep Space Nine's fifth and sixth seasons, beginning with 'Call to Arms'. The book covers do not have titles, only the book number printed in bold.
The Battle for Betazed (2002), by Charlotte Douglas and Susan Kearney, is linked to the series.
No. | Title | Author(s) | Date | ISBN |
---|---|---|---|---|
1 | Behind Enemy Lines (The Next Generation) | John Vornholt | November 1998 | 0-671-02499-X |
2 | Call to Arms (Deep Space Nine) | Diane Carey | 0-671-02497-3 | |
3 | Tunnel Through the Stars (The Next Generation) | John Vornholt | December 1998 | 0-671-02500-7 |
4 | Sacrifice of Angels (Deep Space Nine) | Diane Carey | 0-671-02498-1 | |
-- | Tales of the Dominion War (anthology) | Keith DeCandido, ed. | 2004-08-03 | 0-7434-9171-8 |
Mission Gamma (2002–2017)[edit]
Star Trek: Deep Space Nine: Mission Gamma miniseries follows the crew of the USS Defiant under the command of Elias Vaughn. These Haunted Seas (2008) is a collection of Books 1 and 2.
No. | Title | Author(s) | Date | ISBN |
---|---|---|---|---|
1 | Twilight | David R. George III | 2002-08-27 | 0-7434-4560-0 |
2 | This Gray Spirit | Heather Jarman | 0-7434-4562-7 | |
3 | Cathedral | Michael A. Martin and Andy Mangels | 2002-10-01 | 0-7434-4564-3 |
4 | Lesser Evil | Robert Simpson | 2002-10-29 | 0-7434-1024-6 |
-- | These Haunted Seas (omnibus) | David R. George III and Heather Jarman | 2008-06-17 | 978-1-4165-5639-8 |
Worlds of… (2004–05)[edit]
Worlds of Star Trek: Deep Space Nine miniseries explores the worlds featured in the Deep Space Nine television series. The Dominion and related characters are peppered throughout each of the stories, especially in the third volume. The concept for the series was created by Marco Palmieri.[98]:269
No. | Title | Author(s) | Date | ISBN |
---|---|---|---|---|
1 | Cardassia and Andor | Una McCormack and Heather Jarman | 2004-05-25 | 0-7434-8351-0 |
2 | Trill and Bajor | Andy Mangels, Michael A. Martin, and J. Noah Kym | 2005-01-25 | 0-7434-8352-9 |
3 | Ferenginar and The Dominion | Keith DeCandido and David R. George III | 0-7434-8353-7 |
Gamma (2017)[edit]
Star Trek: Deep Space Nine: Gamma miniseries follows the crew of USS Robinson under the command of Benjamin Sisko. Only one novel has been published. Not to be confused with the Mission Gamma (2002) miniseries which has a similar premise.
Title | Author(s) | Date | ISBN |
---|---|---|---|
Original Sin | David R. George III | 2017-09-26 | 978-1-5011-3322-0 |
Dominion Wars (2001)[edit]
![Star trek ds9 dominion war episodes Star trek ds9 dominion war episodes](/uploads/1/2/4/9/124908718/150251591.jpg)
Star Trek: Deep Space Nine: Dominion Wars is a real-time strategy game set roughly between Seasons 5 and 7 of Deep Space Nine.[99] The player is tasked with defending Federation assets against attacking Dominion forces.
Title | Developer | Publisher | Released |
---|---|---|---|
Dominion Wars | Gizmo Games | Simon & Schuster Interactive | 2001-06-02 |
See also[edit]
References[edit]
- ^ abWriter: Michael Piller. Story: Michael Piller and Rick Berman. Creators: Rick Berman and Michael Piller (January 3, 1993). 'Emissary'. Star Trek: Deep Space Nine. UPN.
- ^ abcdefBehr, Wolfe, Piller (2003). The Birth of the Dominion and Beyond (Star Trek: Deep Space Nine Season Three DVD Special Features). Paramount Pictures.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 97. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 153. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. pp. 158–159. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 167. ISBN0-671-50106-2.Robert Hewitt Wolfe: '[The Founders, like the Roman Empire] would rather take over someplace without firing a shot, but they're going to take over ..'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 154. ISBN0-671-50106-2.Robert Hewitt Wolfe: '[T]he Dominion was the Carrot-and-Stick Empire. The businessmen, the Vorta, were the negotiators, the friendly guys who show up with the carrot: 'Hey, we're your friends. Have some phaser rifles, space travel, whatever you want. We'll arrange it. All you have to do is owe us.' Then, if you don't toe the line, they kick your ass with the Jem'Hadar.'
- ^ ab'An Interview with Ron Moore'. IGN. p. 8. Retrieved September 20, 2017.
- ^Michael Piller: A Bold New Beginning Featurette [Star Trek: Deep Space Nine Season One DVD Special Features].
- ^ ab'Interview, Part 2: Producer Ira Steven Behr Reflects on the Legacy of Deep Space Nine, by Steve Krutzler'. TrekWeb.com. July 14, 2004. p. 2. Archived from the original on December 8, 2004. Retrieved April 4, 2011.
- ^ ab'An Interview with Ron Moore'. IGN. p. 8. Retrieved September 20, 2017.
- ^'An Interview with Ron Moore'. IGN. p. 8. Retrieved September 20, 2017.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 73. ISBN0-671-50106-2.
- ^Writer: Ira Steven Behr. Story: Hilary Bader. Creators: Rick Berman & Michael Piller (November 7, 1993). 'Rules of Acquisition'. Star Trek: Deep Space Nine. UPN.
- ^Writer: Frederick Rappaport. Story: Kelley Miles & Gabe Essoe. Creators: Rick Berman & Michael Piller (November 28, 1993). 'Sanctuary'. Star Trek: Deep Space Nine. UPN.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 106. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. pp. 154–5. ISBN0-671-50106-2.Robert Hewitt Wolfe: 'We wanted to show the long-term fans how dangerous these guys were. And it's my belief that if that had been the Enterprise and not the Odyssey, and [Jean-Luc] Picard rather than Keogh in command, it still wouldn't have survived.'
- ^Interview with Robert Hewitt Wolfe: The Birth of the Dominion and Beyond Documentary [Star Trek: Deep Space Nine Season Three DVD Special Features]. Paramount, ASIN: B00008KA5A, June 3, 1993: 'The Gamma Quadrant isn't empty, it isn't just a bunch of planets. It's bound together by the Dominion, a very, very tough, very smart, very old civilization, run by the mysterious Founders, who are experts in genetic engineering, and who turn out to be Odo's people, the shapeshifters. They then go and engineer these slave races that do their bidding. Essentially, the two main slave races were the 'carrot' and the 'stick'. The carrot being the Vorta, who would come to your planet and say, 'Hey, you're nice people, here's some M16s and some popcorn, and whatever else you want, baby: alcohol, fire-water? All you have to do is sign this little contract and we'll make you cool.' Then there's the Jem'Hadar. So the Vorta say, 'Oh, you don't want to play ball? Then meet these guys. They're gonna kick your asses.'
- ^Story: Ira Steven Behr. Creators: Rick Berman & Michael Piller (June 12, 1994). 'The Jem'Hadar'. Star Trek: Deep Space Nine. UPN.
- ^ abWriter: Ronald D. Moore. Story: Robert Hewitt Wolfe & Ira Steven Behr. Creators: Rick Berman & Michael Piller (September 26, 1994). 'The Search, Part I'. Star Trek: Deep Space Nine. UPN.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 158. ISBN0-671-50106-2.
- ^'Script for 'The Search, Part II''. twiztv.com. July 1994. Archived from the original on May 2, 2008. Retrieved April 23, 2010. Act 5, Scene 74. Writer: Ira Steven Behr. Story: Robert Hewitt Wolfe & Ira Steven Behr. July 18, 1994. Female Changeling: 'What you can control can't hurt you.' Odo: 'How can you justify the deaths of so many people?' Female Changeling: 'The solids have always been a threat to us, that's the only justification we need.'
- ^Writer: Ira Steven Behr. Story: Robert Hewitt Wolfe & Ira Steven Behr. Creators: Rick Berman & Michael Piller (October 3, 1994). 'The Search, Part II'. Star Trek: Deep Space Nine. UPN.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 180a. ISBN0-671-50106-2. Avery Brooks: 'For me, it was very much a story about young brown men, and, to some extent, a story about a society that is responsible for the creation of a generation of young men who are feared, who are addicted, who are potential killers ..'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 180. ISBN0-671-50106-2. Avery Brooks: 'Odo knows that this is still a child, and for him to give up and just let the boy go – what kind of a statement would we be making? That these people are expendable, that we don't really care about them? Those are the hard questions to answer.'
- ^Writer: René Echevarria. Story: Robert Lederman & David R. Long. Creators: Rick Berman & Michael Piller (April 24, 1995). 'Improbable Cause'. Star Trek: Deep Space Nine. UPN.
- ^Writer: Ronald D. Moore. Creators: Rick Berman & Michael Piller (May 1, 1995). 'The Die is Cast'. Star Trek: Deep Space Nine. UPN.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 250. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. pp. 255–6. ISBN0-671-50106-2. Ira Steven Behr: 'A shapeshifter in that episode says something like, 'In the future, all we have to worry about is the Klingons and the Federation, and that won't be for much longer.' I'd said to Ron at the time, 'You know, we could do a whole show about that ..' But the earth didn't move. Nothing shook.'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. pp. 255–6. ISBN0-671-50106-2. Ira Steven Behr: 'Rick [Berman] said, 'The Klingons – that's the way to go. Everyone loves the Klingons. And if we bring in the Klingons, why don't we bring back Worf?'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 256. ISBN0-671-50106-2. Ira Steven Behr: 'We only recovered our equilibrium in the middle of the fifth season, following another meeting with the studio in which we said, 'How about making the Klingons our friends again? You'll see them as much as you want, but we want to get back to the Dominion.' While I like having brought Worf onto the show .. I think it had a fairly substantial impact .. It took us way off from where we'd intended to go and it was slow going getting back.'
- ^Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (October 2, 1995). 'The Way of the Warrior'. Star Trek: Deep Space Nine. UPN.
- ^Writer: Lisa Klink. Story: Lisa Klink & Nicholas J. Corea. Creators: Rick Berman & Michael Piller (October 16, 1995). 'Hippocratic Oath'. Star Trek: Deep Space Nine. UPN.
- ^Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (May 13, 1996). 'To the Death'. Star Trek: Deep Space Nine. UPN.
- ^Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (January 1, 1996). 'Homefront'. Star Trek: Deep Space Nine. UPN.
- ^Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (January 8, 1996). 'Paradise Lost'. Star Trek: Deep Space Nine. UPN.
- ^'Script for 'Paradise Lost''. twiztv.com. November 1995. Archived from the original on August 30, 2005. Retrieved May 6, 2010. Act 5, Scene 50. Writers: Ira Steven Behr & Robert Hewitt Wolfe. Story: Ronald D. Moore. Revised November 14, 1995. Leyton: 'It's not over! I have enough loyal officers to make a fight of it!' Sisko: 'Who will you fight? Starfleet? The Federation? Don't you see, Admiral! You're fighting the wrong war! And as for your loyal officers, Benteen's already abandoned you. And she was closer to you than anyone. You've lost! Don't make anyone else pay for your mistakes.' Leyton: 'I hope .. you're not the one making the mistake.'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 303. ISBN0-671-50106-2.
- ^ abWriters: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (February 10, 1997). 'In Purgatory's Shadow'. Star Trek: Deep Space Nine. UPN.
- ^ abStory: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (February 17, 1997). 'By Inferno's Light'. Star Trek: Deep Space Nine. UPN.
- ^ abStory: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (May 12, 1997). 'Blaze of Glory'. Star Trek: Deep Space Nine. UPN.
- ^ abStory: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (June 16, 1997). 'Call to Arms'. Star Trek: Deep Space Nine. UPN.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 359. ISBN0-671-50106-2.Ira Steven Behr: 'Season Four threw us for a loop, with the whole Klingon thing, and bringing Worf into the show. So the seminal thing about our fifth season opener was that we wanted to get back on the track we'd anticipated being on a year earlier. We were moving back toward making the shapeshifters and the Dominion our enemies. Not the Klingons. I didn't want to have the Klingons as our enemies .. We wanted to let people know that we didn't switch horse in midstream. So 'Apocalypse Rising' was an important episode. By having that shapeshifter in there, we were saying, 'Season Four wasn't a mistake. It wasn't the Klingons turning against us. There was a shapeshifter behind it all along.' And that's why we had to do that episode.'
- ^Story: Ira Steven Behr & Robert Hewitt Wolfe. Creators: Rick Berman & Michael Piller (September 30, 1996). 'Apocalypse Rising'. Star Trek: Deep Space Nine. UPN.
- ^'Interview with Ronald D. Moore about 'A Time to Stand' for Memory Alpha'. memory-alpha.org. Retrieved April 23, 2010.: 'The initial thinking was that we would end Season Five on a cliffhanger with the Federation plunged into war, and then we would come back and do a multi-episode arc, and the war would last that long.'
- ^ abErdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. pp. 475–6. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 494. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 476. ISBN0-671-50106-2. Ronald D. Moore: 'We broke the six episodes together, but as everybody went off and worked on writing them, things would start to change or shift. It became a much more interactive process than it ever had been before. Because each detail had a domino effect. We'd had that happen before, to a certain extent, but we'd never done this many episodes with this many continuing storylines as a single piece. We weren't used to the rhythm. It was definitely challenging!'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 486. ISBN0-671-50106-2.Hans Beimler: 'It changed the dynamic of the way we work and it changed the kind of involvement that everybody had. Because René Echevarria or Ronald D. Moore would go away to work on an episode, and discover something in the writing process that was going to change everybody else's script. One of them would be coming back all the time saying, 'You know what guys? We need to re-think.' And then we'd call in all the troops and re-think the storyline.'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 486. ISBN0-671-50106-2. Ira Steven Behr: 'The guys were coming in saying, 'What are you writing?' 'Are we gonna do this?' 'Where's Kira at right now?' 'What's Odo doing?' There were a lot of phone calls, a lot of running into each other's offices, a lot of 'Should this go before this?' and 'Wait a second – does this track?' The fact is, the show isn't geared to work like that.'
- ^Writer: Ronald D. Moore. Creators: Rick Berman & Michael Piller (October 6, 1997). 'Rocks and Shoals'. Star Trek: Deep Space Nine. UPN.
- ^Writers: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (November 3, 1997). 'Sacrifice of Angels'. Star Trek: Deep Space Nine. UPN.
- ^ abErdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 495. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 495. ISBN0-671-50106-2. Ira Steven Behr: '.. They [the Prophets] wouldn't have done this for just anyone. This was the man going out into the wilderness and demanding his god to interfere, to do something, for crying out loud. The corporeal characters had done so much in this episode; surely, they'd earned the help of the gods.'
- ^Writers: Ira Steven Behr & Hans Beimler. Story: Marc Scott Zicree. Creators: Rick Berman & Michael Piller (November 2, 1998). 'Far Beyond the Stars'. Star Trek: Deep Space Nine. UPN.
- ^ abWriters: Michael Taylor, Peter Allan Fields & Ronald D. Moore. Creators: Rick Berman & Michael Piller (April 15, 1998). 'In the Pale Moonlight'. Star Trek: Deep Space Nine. UPN.
- ^Writers: Bradley Thompson & David Weddle Creators: Rick Berman & Michael Piller (April 8, 1998). 'Inquisition'. Star Trek: Deep Space Nine. UPN.
- ^'Script for 'Inquisition''. twiztv.com. Archived from the original on May 2008. Retrieved May 6, 2010. Act Five, Scene 43. Writers: Bradley Thompson & David Weddle. January 14, 1998. Revised January 29, 1998. Bashir: 'I can't believe the Federation condones this kind of activity.' Odo: 'Personally, I find it hard to believe they wouldn't. Every other great power has a unit like Section 31. The Romulans have the Tal Shiar, the Cardassians had the Obsidian Order ..' Bashir: 'But what does that say about us? When push comes to shove, are we willing to sacrifice our principles in order to survive?' Sisko: 'I wish I had an answer for you, Doctor.'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 557. ISBN0-671-50106-2. Ronald D. Moore: 'We wanted a moment that would really galvanize Sisko .. so we needed to have a familiar world fall [in the war] ..'
- ^'Script for 'In the Pale Moonlight''. twiztv.com. Archived from the original on May 2, 2008. Retrieved May 6, 2010. Act Five, Scene 45. Writer: Michael Taylor. Uncredited contribution: Ronald D. Moore. Story: Peter Allan Fields. January 26, 1998. Revised February 11, 1998. Sisko: 'So .. I lied. I cheated. I bribed men to cover the crimes of other men. I am an accessory to murder. But the most damning thing of all .. I think I can live with it. And if I had to do it all over again, I would. Garak was right about one thing, a guilty conscience is a small price to pay for the safety of the Alpha Quadrant. So I will learn to live with it. Because I can live with it. I can live with it ..'
- ^ abErdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 3. ISBN0-671-50106-2.
- ^Interview with Hans Beimler, Star Trek: Deep Space Nine Companion, Pocket Books, 2000: 'It showed us the possibilities and the excitement that could be garnered, and in the end, we liked it so much that we decided to do the ten-episode arc at the end of the series.'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 592. ISBN0-671-50106-2.Rick Berman: 'So rather than tie up every thread in the few hours, we thought, 'Why not look at the last third of the season as a continuing, building conclusion to the seven-year story?'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. pp. 591–2. ISBN0-671-50106-2.Ira Steven Behr: 'The show wasn't geared to be what we kept turning it into .. We had to kind of do it and hope it was going to work out .. So we didn't lay it out at the beginning of the year. We planned then as we were doing them. That allowed us to find great stuff, but occasionally it put us into situations where we were saying to each other, 'Well, what do you want to do with —?' 'I dunno, what do you want to do with them?'
- ^Writers: David Weddle & Bradley Thompson. Story: Phillip Kim. Creators: Rick Berman & Michael Piller (November 22, 1998). 'Treachery, Faith, and the Great River'. Star Trek: Deep Space Nine. UPN.
- ^ abWriter: René Echevarria. Story: René Echevarria & Spike Steingasser. Creators: Rick Berman & Michael Piller (May 5, 1999). 'When It Rains..'. Star Trek: Deep Space Nine. UPN.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. pp. 689–690. ISBN0-671-50106-2.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 693. ISBN0-671-50106-2.
- ^Writers: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (November 18, 1998). 'The Siege of AR-558'. Star Trek: Deep Space Nine. UPN.
- ^Writer: Ronald D. Moore. Story: David Alan Mack & John J. Ordover. Creators: Rick Berman & Michael Piller (November 30, 1998). 'It's Only a Paper Moon'. Star Trek: Deep Space Nine. UPN.
- ^ abBarrett, Michele; Barrett, Duncan (December 1, 2001). Star Trek: The Human Frontier. Routledge. pp. 66, 72. ISBN0-415-92982-2.
- ^'Script for 'The Changing Face of Evil''. twiztv.com. Archived from the original on May 2, 2008. Retrieved May 6, 2010. Act Five, Scenes 67-71. Writers: Hans Beimler & Ira Steven Behr. February 3, 1999. Revised February 23, 1999. Damar: 'Seven million of our brave soldiers have given their lives to fulfill our part of the agreement, and what has the Dominion done in return? Nothing. We've gained no new territories. In fact, our influence throughout the quadrant has diminished. And to make matters worse we are no longer masters in our own home. Travel anywhere on Cardassia and what do you find? Jem'Hadar, Vorta, and now Breen. Instead of the invaders we have become the invaded. Our allies have conquered us without firing a single shot. Well, no longer.'
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 690. ISBN0-671-50106-2.
- ^Writer: Ronald D. Moore. Creators: Rick Berman & Michael Piller (May 12, 1999). 'Tacking Into the Wind'. Star Trek: Deep Space Nine. UPN.
- ^Interview with Ira Steven Behr, Star Trek: Deep Space Nine Companion, Pocket Books, 2000: 'We needed someone [Gul Rusot] who would highlight Damar's strength, by putting Damar in a position where he'd have to hold this tiger by the tail and keep him in line.'
- ^ abWriters: René Echevarria & Ronald D. Moore. Story: Peter Allan Fields. Creators: Rick Berman & Michael Piller (May 26, 1999). 'The Dogs of War'. Star Trek: Deep Space Nine. UPN.
- ^ abWriters: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (June 2, 1999). 'What You Leave Behind, Part I'. Star Trek: Deep Space Nine. UPN.
- ^'Script for 'The Dogs of War''. twiztv.com. Archived from the original on May 2, 2008. Retrieved May 6, 2010. Act 1, Scenes 20-1. Writers: René Echevarria & Ronald D. Moore. Story: Peter Allan Fields. Revised April 9, 1998. Odo: 'Don't split hairs with me, doctor. They used me as an instrument to try to commit genocide. We may be at war with the Founders, but that's no excuse.' Bashir: 'I completely agree.' Sisko: 'I don't condone what Section 31 did, but the Founders started this war, not us. Giving them the cure would only strengthen their hand. And we can't do that – not when there are millions of men and women out there putting their lives on the line every day.' Odo: 'Interesting, isn't it? The Federation claims to abhor Section 31's tactics, but when they need their dirty work done they look the other way. It's a tidy little arrangement, wouldn't you say?'
- ^Writers: Ira Steven Behr & Hans Beimler. Creators: Rick Berman & Michael Piller (June 2, 1999). 'What You Leave Behind, Part II'. Star Trek: Deep Space Nine. UPN.
- ^Erdmann, Terry; Block, Paula (2000). The Star Trek: Deep Space Nine Companion. New York City: Pocket Books, Simon & Schuster Inc. p. 592. ISBN0-671-50106-2. Ira Steven Behr: 'I could see their point. Deep Space Nine is bigger than just the Dominion War. So we split it. We had a two-hour episode, which allowed us to give the audience the big battle scenes and all that stuff, but then say, 'Hey, this is the final episode, and we have a lot of other stuff to take care of too!' .. I wanted to tie up all the loose ends. I didn't want this show to end like so many TV shows do, with all this open-ended 'Whatever happened to these characters?' I mean, obviously these characters go off and have some kind of life, but in terms of this series, I wanted to bring some closure, it was important to me.'
- ^'An Interview with Ron Moore'. IGN. p. 10. Retrieved September 20, 2017.
- ^Sean Elliot (November 20, 2007). 'Exclusive: George Takei Thanks Fans for 40 Years of Star Trek'. iF Magazine. Archived from the original on November 23, 2007. Retrieved April 4, 2011.
- ^'Interview – Dorothy Fontana On New Comics, New Novel + Canon, DS9, ENT & New Movie'. August 16, 2007. TrekMovie.com. Retrieved April 4, 2011.
- ^John J. O'Connor (January 7, 1993). 'Star Trek Leaps to the 24th Century in Syndicated Series'. The New York Times Company. Retrieved April 4, 2011.
- ^John J. O'Connor (September 11, 1996). 'Critic's Notebook: When Space Seemed a Whole Lot Bigger'. The New York Times Company. Retrieved April 4, 2011.
- ^Cynthia Littleton (August 24, 1998). ''Deep Space' on final Trek'. Variety.com. Retrieved April 26, 2010.
- ^Leong, Anthony (April 1999). 'Babylon 5: Triumph and Tragedy in Three Acts'. Frontier: the Australian Science-Fiction Media Magazine. Carlton South, Victoria, Australia: K & J Publishing (15). ISSN1326-8686. Retrieved April 4, 2011.
- ^Nader Elhefnawy (June 2008). Stacey Janssen (ed.). 'The Golden Age of Science Fiction Television: Looking Back at SFTV During the Long 1990s'. The Internet Review of Science-Fiction. Bluejack. Archived from the original on April 30, 2009. Retrieved May 9, 2010.
- ^Owen Williams (September 17, 2009). Nick de Semlyen (ed.). 'Star Trek 2 on Battlestar Territory? Abrams and Orci Talk Allegory'. Empire. Bauer Consumer Media. Retrieved April 4, 2011.
- ^Adam Smith (September 17, 2009). Dan Jolin (ed.). 'Star Trek: The Best and Worst Episodes'. Empire. Bauer Consumer Media. Retrieved April 4, 2011.
- ^Caillan Davenport (July 16, 2003). 'Trekking to the Emmys'. Trek Nation. Retrieved April 4, 2011.
- ^Drezner, Daniel W. (September 13, 2016). 'The top 10 'Star Trek' episodes ever'. The Washington Post. Retrieved June 24, 2019.
- ^Geraghty, Lincoln (March 30, 2007). Living with Star Trek: American Culture and the Star Trek Universe. I.B. Tauris. p. 262. ISBN978-1-84511-265-3.
- ^Karin Blair (1997). Dan Jolin (ed.). 'Star Trek Old and New: From the Alien Embodied to the Alien Imagined'.Cite journal requires
|journal=
(help) - ^Barrett, Michele; Barrett, Duncan (December 1, 2001). Star Trek: The Human Frontier. Routledge. ISBN0-415-92982-2. Back cover.
- ^Jewett, Robert; Lawrence, John (September 20, 2002). The Myth of the American Superhero. William B. Eerdmans Publishing Co. p. 245. ISBN978-0-8028-4911-3.
- ^Jewett, Robert; Lawrence, John (September 20, 2002). The Myth of the American Superhero. William B Eerdmans Publishing Co. p. 262. ISBN978-0-8028-4911-3.
- ^Ayers, Jeff (November 14, 2006). Voyages of the Imagination: The Star Trek Fiction Companion. New York: Pocket Books. ISBN978-1-4165-0349-1.
- ^'Star Trek: Dominion Wars Review'. uk.gamespot.com. Archived from the original on July 20, 2012. Retrieved April 4, 2011.
External links[edit]
- Dominion War at Memory Alpha (a Star Trekwiki)
- Star Trek: Deep Space Nine on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Dominion_War&oldid=916502505'
Star Trek: Deep Space Nine | |
---|---|
Genre | Science fiction Action adventure |
Created by | |
Based on | Star Trek by Gene Roddenberry |
Starring | |
Theme music composer | Dennis McCarthy |
Country of origin | United States |
Original language(s) | English |
No. of seasons | 7 |
No. of episodes | 176 (list of episodes) |
Production | |
Executive producer(s) | Showrunners
|
Running time | 45 minutes |
Production company(s) | Paramount Domestic Television |
Distributor | Paramount Domestic Television (1993–1999) CBS Television Distribution[1] |
Release | |
Original network | Syndication[2] |
Picture format | |
Audio format |
|
Original release | January 3, 1993 – June 2, 1999 |
Chronology | |
Preceded by | Star Trek: The Next Generation |
Followed by | Star Trek: Voyager |
Related shows | Star Trek TV series |
External links | |
Star Trek: Deep Space Nine at StarTrek.com |
Star Trek: Deep Space Nine (DS9) is an American science fiction television series created by Rick Berman and Michael Piller. It originally aired from January 3, 1993, to June 2, 1999, in syndication, spanning 176 episodes over seven seasons. The fourth series in the Star Trek franchise, it served as the sequel to Star Trek: The Next Generation. Set in the 24th century, when Earth is part of a United Federation of Planets, it is based on the eponymous space station Deep Space Nine, located adjacent to a wormhole connecting Federation territory to the Gamma Quadrant on the far side of the Milky Way galaxy.
Following the success of Star Trek: The Next Generation, Paramount Pictures commissioned a new series set in the Star Trekfictional universe. In creating Deep Space Nine, Berman and Piller drew upon plot themes developed in The Next Generation, namely the conflict between two alien species, the Cardassians and the Bajorans. Deep Space Nine was the first Star Trek series to be created without the direct involvement of franchise creator Gene Roddenberry, the first set on a space station rather than a traveling starship, and the first to have a person of color—Commander Benjamin Sisko (Avery Brooks)—as its central character.
Changes were made to the series over the course of its seven-year run. For the third season, the starship USS Defiant was introduced to enable more stories away from the space station, while the fourth saw the introduction of Worf (Michael Dorn), originally from The Next Generation, as a main character. The final three seasons dealt with a recurring story arc, that of the war between the Federation and an invasive Gamma Quadrant power, the Dominion. Although not as popular as The Next Generation, Deep Space Nine was critically well-received. Following the success of Deep Space Nine, Paramount commissioned Berman and Brannon Braga to produce Star Trek: Voyager, which began in 1995. During Deep Space Nine's run, various episode novelisations and tie-in video games were produced; after the show ended, various novels and comics continued the crew's adventures.
- 2Cast
- 4Plots
- 7Reception
- 9Multimedia
- 11Books
Premise[edit]
Deep Space Nine centers on the formerly Cardassian space station Terok Nor. After the Bajorans have liberated themselves from the long and brutal Cardassian Occupation, the United Federation of Planets is invited by the Bajoran Provisional Government to administer joint control of the station, which initially orbits Bajor. The station is renamed Deep Space Nine, and a Starfleet crew is assigned to manage it. Shortly after their arrival, the Starfleet crew discovers a stable wormhole in Bajoran space leading from the Alpha Quadrant to the Gamma Quadrant, and the station is moved to a strategic position near the wormhole's entrance to safeguard it from the Cardassians. Deep Space Nine and Bajor quickly become a center for exploration, interstellar trade, political maneuvering, and open conflict. Threats come not only from Cardassians, Klingons and Romulans from the Alpha Quadrant, but later from the Dominion, an alliance of alien species from the Gamma Quadrant that take up arms alongside the Cardassians against the Federation and its allies starting in Season 3. Deep Space Nine becomes a key military base for the Federation in the Dominion War, and is assigned the starship USS Defiant to aid in its protection.
According to co-creator Berman, he and Piller considered setting the new series on a colony planet, but they felt a space station would appeal more to viewers, and would save the money required for a land-based show's on-location shooting. They did not want the show set aboard a starship because Star Trek: The Next Generation was still in production, and in Berman's words, it 'seemed ridiculous to have two shows—two casts of characters—that were off going where no man has gone before.'[3]
While its predecessors tended to restore the status quo ante at the end of each episode, allowing out-of-order viewing, DS9 contains story arcs that span episodes and seasons. One installment often builds upon earlier ones, with several cliffhanger endings. Michael Piller considered this one of the series' best qualities, allowing repercussions of past episodes to influence future events and forcing characters to 'learn that actions have consequences.'[3] This trend was especially noticeable toward the series finale, by which time the show was intentionally scripted as a serial.[3][4]
Unlike Star Trek: The Next Generation, interpersonal conflicts were prominently featured in DS9. This was at the suggestion of Star Trek: The Next Generation's writers, many of whom also wrote for DS9, who felt that Roddenberry's prohibition of conflicts within the crew restricted their ability to write compelling dramatic stories. In Piller's words, 'People who come from different places—honorable, noble people—will naturally have conflicts'.[3]
Cast[edit]
Main cast[edit]
Actor | Character | Position | Appearances | Character's species | Rank |
---|---|---|---|---|---|
Avery Brooks | Benjamin Sisko | Commanding Officer | Seasons 1–7 | Human |
|
Benjamin Sisko is the Starfleet officer placed in charge of Deep Space Nine. At the start of the series, he is a grieving widower (his wife having been killed by the Borg at the Battle of Wolf 359) and the father of a pre-teenage son, Jake. He and Jadzia Dax discover the Bajoran wormhole, which the Bajorans believe is the home of the Prophets, their gods and protectors. The Bajorans hail Sisko as the Emissary of the Prophets, an exalted religious status that initially makes him uncomfortable. Due to his exemplary leadership, at the end of the third season, he is promoted from commander to captain and becomes a key leader of Federation forces against the Dominion. In the seventh season, it is revealed that Sisko's biological mother was one of the Prophets, using the body of a human woman. | |||||
Nana Visitor | Kira Nerys | First Officer | Seasons 1–7 | Bajoran |
|
Kira Nerys is a Bajoran militia officer, former guerrilla fighter during the Cardassian Occupation of Bajor, and, as the station's Bajoran liaison officer, Sisko's second-in-command. She is initially suspicious of the Federation's intentions toward her planet, but grows to trust and befriend the rest of the crew. Like most Bajorans, she is deeply religious, which, in her opinion, makes it awkward having the Emissary to the Prophets as her commander. Ro Laren, a character from Star Trek: The Next Generation, was the first choice of the producers for Sisko's first officer, but Michelle Forbes did not want to commit to a television series.[4] | |||||
René Auberjonois | Odo | Chief of Security | Seasons 1–7 | Changeling | Constable (unofficial) |
Constable Odo is the station's chief of security. He is a Changeling, capable of assuming any shape he wishes, but usually assumes a shape of a male adult humanoid. He was found in the Denorios Belt, brought back to the planet Bajor by the Cardassians (who maintained a military occupation of Bajor), and raised in a laboratory by a Bajoran scientist, Doctor Mora. Odo yearns to find his own people, but when he finally does, he is less than pleased to discover that they rule the Gamma Quadrant with an iron fist. | |||||
Armin Shimerman | Quark | Bar owner | Seasons 1–7 | Ferengi | Civilian |
Quark is the owner of a bar. Like most of his species (with the notable exceptions of his brother Rom and eventually his nephew Nog), he is extremely greedy and willing to do whatever it takes to acquire more latinum, and his often legally questionable means repeatedly brings him into conflict with Odo. Quark does, however, display a moral code on several occasions during the series, electing to save lives rather than obtaining monetary benefit. Sisko also considers Quark an anchor to the merchant community and social potpourri of the station and repeatedly takes steps to keep him in operation on the station. | |||||
Alexander Siddig | Julian Bashir | Chief Medical Officer | Seasons 1–7 | Human | Lieutenant, junior grade (Seasons 1–3) Lieutenant (Seasons 4–7) |
Julian Bashir is the station's chief medical officer. Although Human, his parents had him illegally genetically enhanced when he was a child because he could not keep up with his peers. Somewhat tactless, he nevertheless develops friendships with several of the station's residents, particularly Miles O'Brien and, more ambiguously, a mysterious Cardassian named Garak. Siddig appears in the opening credits as Siddig el Fadil, a shortened form of his birth name, for the first three seasons. He was credited as Alexander Siddig after discovering that viewers did not know how to pronounce his name.[5] Siddig continued to be credited as Siddig el Fadil when he directed. | |||||
Terry Farrell | Jadzia Dax | Chief Science Officer | Seasons 1–6 | Trill |
|
Jadzia Dax is the station's Trill science officer. She shares a symbiotic existence with a long-living symbiont named Dax, who has already experienced seven prior lives 'joined' with other Trills. The previous host, a larger-than-life federation diplomat and womanizer Curzon Dax, had been a close friend of and mentor to Sisko, who often refers to Jadzia as 'old man' as a friendly joke. She eventually marries Worf during the course of the war with the Dominion. Jadzia is killed by Gul Dukat at the end of season 6. | |||||
Nicole de Boer | Ezri Dax | Counselor | Season 7 | Trill |
|
Ezri Dax was added to the series after the abrupt departure of Terry Farrell. Farrell's character was killed off and the writers introduced Ezri as a young Trill Starfleet officer and the next host of the Dax symbiont. Unprepared and untrained for the role, she is often frustrated by aspects of the symbiotic relationship and the eight lifetimes worth of memories she inherits.[6] She also confronts the memories of Jadzia's love for Worf as well as her own attraction to Dr. Bashir. | |||||
Michael Dorn | Worf |
| Seasons 4–7 | Klingon | Lieutenant commander |
The fourth season saw the addition of Michael Dorn to boost ratings. Dorn had recently finished seven years on Star Trek: The Next Generation as the Klingon Worf.[7] Worf transfers to Deep Space 9 when the brief war between the Federation and the Klingon Empire breaks out, and stays on as Strategic Operations officer and later as a liaison to the Klingon Empire. He eventually marries Jadzia Dax. | |||||
Colm Meaney | Miles O'Brien | Chief Operations Officer | Seasons 1–7 | Human | Senior chief petty officer |
Miles O'Brien is the Chief of Operations, keeping the station in working order. He is married to botanist and teacher Keiko. They have a daughter, Molly, and later a son, Kirayoshi. O'Brien is the first main non-commissioned Starfleet character, reprising a supporting role in The Next Generation, as an 'uncomplicated' and well-studied hardware technician. | |||||
Cirroc Lofton | Jake Sisko | Seasons 1–7 | Human | Civilian | |
Jake is Benjamin Sisko's son. He decides not to follow in his father's footsteps as a Starfleet officer, desiring to be a writer and reporter instead. He at first resents the idea of living on an old Cardassian space station, but soon learns to adapt. He develops a deep friendship with Nog, a Ferengi who is the station's only other inhabitant in his age group. Jake eventually becomes a reporter with the Federation News Service. Throughout the seven seasons, both Jake and Nog evolve from young children into young men with storylines showing their rites of passage, successes, and mishaps. |
Supporting cast[edit]
Actor | Character | Position | Appearances | Species | Rank |
---|---|---|---|---|---|
Rosalind Chao | Keiko O'Brien |
| Seasons 1–7 | Human | Civilian |
Max Grodénchik | Rom |
| Seasons 1–7 | Ferengi |
|
Aron Eisenberg | Nog |
| Seasons 1–7 | Ferengi |
|
Andrew J. Robinson | Elim Garak | Tailor, exiled spy | Seasons 1–7 | Cardassian | Civilian |
Chase Masterson | Leeta | Seasons 3–7 | Bajoran | Civilian | |
Marc Alaimo | Dukat |
| Seasons 1–7 | Cardassian |
|
Penny Johnson Jerald | Kasidy Yates | Freighter captain | Seasons 3–7 | Human | Civilian |
Louise Fletcher | Winn Adami | Seasons 1–7 | Bajoran | Civilian | |
Majel Barrett | Lwaxana Troi | Federation ambassador | Seasons 1, 3, 4 | Betazoid | Ambassador |
Mark Allen Shepherd | Morn | Freighter captain | Seasons 1–7 | Lurian | Civilian |
J. G. Hertzler | Martok |
| Seasons 4–7 | Klingon | |
Kenneth Marshall | Michael Eddington |
| Seasons 3–5 | Human |
|
Casey Biggs | Damar |
| Seasons 4–7 | Cardassian |
|
Robert O'Reilly | Gowron | Leader of the Klingon High Council | Seasons 3–5, 7 | Klingon | Chancellor |
Philip Anglim | Bareil Antos | Vedek | Seasons 1–3, 6 | Bajoran | Civilian |
Camille Saviola | Opaka Sulan | Kai | Seasons 1, 2, 4 | Bajoran | Civilian |
Jeffrey Combs | Brunt | Liquidator, Ferengi Commerce Authority | Seasons 3–7 | Ferengi | Civilian |
Weyoun | Second in command of Dominion forces in the Alpha Quadrant | Seasons 4–7 | Vorta | Dominion diplomat | |
Tora Ziyal | Student | Seasons 4–6 | Bajoran-Cardassian | Civilian | |
Salome Jens | Female Changeling | One of the Founders (rulers) of the Dominion | Seasons 3, 4, 6, 7 | Changeling | Founder |
Barry Jenner | William Ross | Allied Forces Commander, DS9 | Seasons 6–7 | Human | Vice admiral |
James Darren | Vic Fontaine | Entertainer | Seasons 6–7 | Hologram | N/A |
Duncan Regehr | Shakaar Edon | First Minister, Bajor | Seasons 3–5 | Bajoran | Civilian |
Wallace Shawn | Zek | Leader of the Ferengi Alliance | Seasons 1–3, 5–7 | Ferengi | Grand Nagus |
Ishka | Entrepreneur | Seasons 3, 5–7 | Ferengi | Civilian | |
Brock Peters | Joseph Sisko | Restaurant owner, Benjamin Sisko's father | Seasons 4, 6, 7 | Human | Civilian |
Tiny Ron | Maihar'du | Servant and bodyguard | Seasons 1–3,5–7 | Hupyrian | Civilian |
Recurring characters[edit]
Marc Alaimo, Armin Shimerman and Colm Meaney, who portrayed the characters of Gul Dukat, Quark and Miles O'Brien, respectively.
The setting of the series—a space station rather than a starship—fostered a rich assortment of recurring characters. It was not unheard of for 'secondary' characters to play as much of a role in an episode as the regular cast, if not more. For example, 'The Wire' focused almost entirely on Elim Garak, while 'Treachery, Faith, and the Great River' featured Weyoun, with a secondary plot centered on Nog. 'It's Only a Paper Moon' relied on Nog and holographic crooner Vic Fontaine (James Darren) to carry the story.
Several Cardassian characters figure prominently in DS9, particularly Gul Dukat, a senior member of the Cardassian military involved in the occupation of Bajor, played by Marc Alaimo. A complex character, Dukat undergoes several transformations before ultimately resolving as a profoundly evil character, and Sisko's archenemy, by the show's conclusion. A StarTrek.com article about Star Trek's greatest villains described Gul Dukat as 'possibly the most complex and fully-developed bad guy in Star Trek history'.
Elim Garak, portrayed by Andrew Robinson, is the only Cardassian who remains (in exile) on the space station when the Federation and the Bajorans take over. Widely suspected of being an agent of the Obsidian Order, the feared Cardassian secret police, he maintains that he is merely a simple tailor. Garak's skills and contacts on Cardassia prove invaluable on several occasions, and he becomes a pivotal figure in the war with the Dominion.
Damar (Casey Biggs) is initially a glinn serving under Gul Dukat aboard the freighter Groumall, later to become his loyal aide and rise in stature as Dukat regains prominence. He becomes the new leader of the Cardassian Union when Dukat has an emotional breakdown, precipitated by his daughter's death at the hands of Damar ('Sacrifice of Angels'). As the Dominion War progresses, Damar becomes increasingly dissatisfied with Cardassia's relationship with the Dominion. The tipping point is reached when the Dominion forms an alliance with the Breen and Cardassia is relegated to a secondary and increasingly marginalized role ('Strange Bedfellows'). Damar forms and leads an insurgency against the Dominion, playing a vital role in its eventual defeat ('What You Leave Behind').
Nana Visitor and René Auberjonois, who portrayed the characters of Kira Nerys and Odo, respectively.
Jeffrey Combs (of Re-Animator fame) has stated that he had auditioned for the role of William Riker on Star Trek: The Next Generation, but when Jonathan Frakes (who won the part) later directed the DS9 episode 'Meridian', he recommended Combs for a part.[8] Combs made his Star Trek and DS9 debut as a one-episode alien named Tiron, before being cast as the Ferengi Brunt and the VortaWeyoun. He would go on to appear in 31 episodes of DS9, playing four distinct characters—five, if one counts the 'mirror universe' version of Brunt. In 'The Dogs of War', he also became one of the few Star Trek actors to play two distinct roles (Brunt and Weyoun) in the same episode. He also appeared in the series Star Trek: Enterprise as the Andorian commander Shran. He is one of the few actors to have appeared in three Star Trek series.
In addition to Quark and his brother Rom (Max Grodénchik), several other Ferengi had recurring roles, among them their shrewd mother Ishka (Andrea Martin, later Cecily Adams), who eventually engineers a social revolution on the Ferenginar, the Ferengi home world; Rom's son Nog (Aron Eisenberg), the first Ferengi to join Starfleet; and Grand Nagus Zek (Wallace Shawn), the Ferengi leader. Though she is Bajoran, the character Leeta (Chase Masterson), a Dabo girl in Quark's bar and later Rom's wife, is sometimes involved in the Ferengi storyline. After Ishka's social revolution, Grand Nagus Zek names Rom as the Grand Nagus to lead the 'new' Ferenginar.
The Klingon Empire plays a more significant role in DS9 than in any other Star Trek series. Aside from Worf, recurring Klingon characters include Chancellor Gowron (Robert O'Reilly), leader of the Empire, who previously appeared in The Next Generation. In one of the series' final episodes, he was challenged and killed by Worf for sending Klingon troops on suicide missions to discredit General Martok (J. G. Hertzler) during the Dominion War; after killing Gowron, Worf passes leadership of the empire to Martok. Kor, a Klingon character from Star Trek: The Original Series resurfaces in three DS9 episodes. One of them, 'Blood Oath', unites Kor with two other Klingons from the original series: Koloth and Kang. John Colicos, William Campbell and Michael Ansara reprised their original series roles.
Morn is a minor character who is a fixture in Quark's establishment, sitting at the bar over the course of seven years. According to The Star Trek Encyclopedia, it became a running joke that, despite the other characters' remarks on how talkative and funny he is, he never speaks a word on camera. Morn did have a line in the script for pilot episode 'Emissary', but it was cut due to run time considerations, after which the creators conceived the joke that he never talks.[9]
Season overview[edit]
Star Trek: Deep Space Nine ran for seven seasons, from 1993 to 1999. The first season started half-way through the typical broadcast season running from fall to spring and had fewer episodes than typical Star Trek runs. Starting with Season 4, a major addition to the cast was Worf adding in another carryover from Star Trek:The Next Generation. When that show ended its run, another spin-off Star Trek: Voyager was also started after the end of that series on United Paramount Network rather than the syndicated network. Meanwhile the cast of that show shifted to feature films, which led to Worf being the only main Deep Space Nine character to reach the 'big screen'.
Season | Episodes | Originally aired | |||
---|---|---|---|---|---|
First aired | Last aired | ||||
1 | 20[10] | January 3, 1993 | June 20, 1993 | ||
2 | 26 | September 26, 1993 | June 12, 1994 | ||
3 | 26 | September 26, 1994 | June 19, 1995 | ||
4 | 26 | October 2, 1995 | June 17, 1996 | ||
5 | 26 | September 30, 1996 | June 16, 1997 | ||
6 | 26 | September 29, 1997 | June 17, 1998 | ||
7 | 26 | September 30, 1998 | June 2, 1999 |
Plots[edit]
Year | TNG | DS9 | VOY |
---|---|---|---|
2364 | S1 | ||
2365 | S2 | ||
2366 | S3 | ||
2367 | S4 | ||
2368 | S5 | ||
2369 | S6 | S1 | |
2370 | S7 | S2 | |
2371 | S3 | S1 | |
2372 | S4 | S2 | |
2373 | S5 | S3 | |
2374 | S6 | S4 | |
2375 | S7 | S5 | |
2376 | S6 | ||
2377 | S7 |
Major plotlines focus on several key Star Trek cultures, especially interactions between the Bajorans, Cardassians, Ferengi, Klingons, and the Federation. Many of these cultures are represented by major characters in the main or recurring cast.
Major arcs revolve around Bajor's recovery from Cardassian occupation; the Maquis, a rebellious Federation splinter group; and the Dominion, a hostile imperial power from the other side of the galaxy. The war between the Dominion and the Federation spans several later seasons of the show.
Bajor[edit]
In the first episode, Starfleet Commander Benjamin Sisko arrives (along with his young son, Jake) at Deep Space Nine, a space station formerly run by the Cardassians during their oppressive occupation of Bajor, a planet that the space station orbits. He is assigned to run the station jointly with the newly liberated Bajorans as they recover from the Cardassian occupation, to help pave the way for Bajor's entry into the Federation. Sisko and Jadzia Dax stumble upon the first stable wormhole found and discover that it is inhabited by beings who are not bound by normal space and time. To the strongly religious people of Bajor, the wormhole aliens are their gods (the Prophets) and the wormhole itself is the long-prophesied Celestial Temple, where they reside. Sisko is hailed as the Emissary of the Prophets, through whom the Prophets primarily act.
This provides the basis for a long-lasting story arc. Sisko initially considers his role as a religious icon with open discomfort and skepticism, referring to the Prophets as 'wormhole aliens' and striving to keep his role as commander of the station distinct from any religious obligations that the Bajorans try to place on him. Later, he becomes more accepting of his role and, by the end of the series, he openly embraces it. The political and religious implications of this on the Bajorans and its spiritual leaders (most notably, Winn Adami) also provide a central arc that lasts until the end of the series.
The Maquis[edit]
The station crew early on has to contend with a human resistance group known as the Maquis. Rooted in the events of The Next Generation episode 'Journey's End', in which Native American settlers refuse to leave when their colony world is given to Cardassia as part of a treaty, the Maquis are an example for the show's exploration of darker themes: its members are Federation citizens who take up arms against Cardassia in defense of their homes, and some, such as Calvin Hudson, a long-time friend of Sisko's, and Michael Eddington, who defects while serving aboard the station, are Starfleet officers. The show’s sharp departure from traditional Star Trek themes can be seen in episodes such as 'For the Cause', in which Eddington complains to Sisko, 'Everybody should want to be in the Federation. Nobody leaves paradise. In some ways, you're even worse than the Borg. At least they tell you about their plans for assimilation. You assimilate people and they don't even know it.' The Maquis also allow DS9 to subvert some longstanding Star Trek icons: Thomas Riker, a duplicate of Enterprise-D first officer Commander William Riker (also played by Jonathan Frakes; character first appeared in ST:TNG's 'Second Chances' episode), is revealed in the episode 'Defiant' to be a member of the Maquis who gains access to the station's crew and facilities by impersonating the Enterprise's Riker.
The Dominion War[edit]
The second-season episode 'Rules of Acquisition' marks the first mention of the Dominion, a ruthless empire in the Gamma Quadrant, though they are not fully introduced until the second-season finale, 'The Jem'Hadar'. It is led by 'the Founders', a race of shape-shifting Changelings, the same species as station security chief Odo. They were once persecuted by non-shape-shifters (whom they call 'Solids') and they seek to impose 'order' upon any who could potentially harm them, which includes nearly all Solids. The Founders have created or genetically modified races to serve them: the Vorta, sly and subversive diplomats, and the Jem'Hadar, their fearless shock troops. These races worship the Founders as gods.
At the start of DS9's third season ('The Search'), with the threat of a Dominion attack looming from the other side of the wormhole, Commander Sisko returns from Starfleet Headquarters on Earth with the USS Defiant, a prototypestarship that was originally built to fight the Borg. It remains stationed at Deep Space Nine until season seven, providing an avenue for plot lines away from the station. With the third season, writers from the now completed The Next Generation began to write regularly for DS9.
The Dominion forms an uneasy alliance with the Cardassians in the fifth-season episodes 'In Purgatory's Shadow' and 'By Inferno's Light' and goes to war with the other major powers of the Alpha Quadrant in the season finale 'Call to Arms'. Throughout the series, loyalties and alliances change repeatedly: pacts with the Cardassians are made, broken, and remade; a short war with the Klingons flares up and is settled, and the formerly neutral Romulans ally themselves with the Federation. This last alliance is made in an attempt to turn the war around, but comes as a result of criminal and duplicitous acts on Sisko and resident Cardassian Garak's part, thus providing an example of the moral ambiguity prevalent in DS9 in comparison to the other Star Trek series.
Section 31[edit]
Another example of DS9's darker nature is the introduction of Section 31, a secret organization dedicated to preserving the Federation way of life at any cost. This shadow group, introduced in 'Inquisition', justifies its unlawful, unilateral tactics by claiming that it is essential to the continued existence of the Federation. Section 31 repeatedly states that if any inquires are made with the Federation, they will deny Section 31's existence. Section 31 features prominently in several episodes of the Dominion War arc, especially as it is revealed that it attempted a genocide of the Founders.
The Ferengi[edit]
In DS9, the Ferengi are no longer an enemy of the Federation, but rather an economic power whose political neutrality is, for the most part, respected. A number of episodes explore their capitalistic nature, while others delve into the race's sexist social norms. Unlike their depiction in Star Trek: The Next Generation, where they were generally portrayed as sexist buffoons for comedic purposes, in DS9 they received a more complex depiction, with the female partner (Ishka) of the Grand Nagus leading a women's rights rebellion on the Ferengi homeworld, and Rom, Quark's brother, leading a strike against unfair working conditions in Quark's bar. Also, Jake Sisko's best friend, Nog, has to deal with Starfleet's more liberal attitudes towards women while Jake learns to deal with his friend's cultural background in a respectful manner rather than risk the loss of their friendship. Nog later decides to join Starfleet, the first Ferengi to do so.
The Mirror Universe[edit]
Several episodes of DS9 explore the theme of the Mirror Universe, first touched upon in the Star Trek: The Original Series episode 'Mirror, Mirror'. In the second-season episode 'Crossover', the DS9 crew first becomes aware of this alternate universe when Kira and Dr. Bashir experience operational difficulties while traveling through the Wormhole and wind up back on the station in the Mirror Universe dominated by the Klingon–Cardassian alliance. They discover that it is not DS9 to which they have returned but Terok Nor. Bajor is not friendly and there is no Federation here. 'Terrans', as they are called in this universe, are ruthless barbarians according to the Intendant (Kira's mirror self) – the Terran Empire occupied Bajor for decades much as Cardassia had in the normal universe. The Klingon–Cardassian alliance eventually formed and Bajor was freed from Terran occupation, later enslaving Terrans as ore miners on the orbiting space station Terok Nor. However, the Terran workers liberate themselves and form a resistance movement, as seen in several other DS9 episodes ('Through the Looking Glass', 'Shattered Mirror', 'Resurrection', 'The Emperor's New Cloak').
Character growth[edit]
Over the course of the seven seasons, we see characters come and go, and the station provides a chance to see characters from elsewhere in the Star Trek universe grow further, such as the O'Brien family, including Miles, Keiko, and Molly.
Character | Season 1 | Season 2 | Season 3 | Season 4 | Season 5 | Season 6 | Season 7 |
---|---|---|---|---|---|---|---|
Sisko | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Kira Nerys | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Odo | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Julian Bashir | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Jadzia Dax | Yes | Yes | Yes | Yes | Yes | Yes | No |
Ezri Dax | No | No | No | No | No | No | Yes |
Quark | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Miles O'Brien | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Keiko O'Brien | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Jake Sisko | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Elim Garak | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Dukat | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Winn | Yes | Yes | Yes | No | Yes | Yes | Yes |
Rom | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Nog | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
Worf | No | No | No | Yes | Yes | Yes | Yes |
Kasidy Yates | No | No | Yes | Yes | Yes | Yes | Yes |
Leeta | No | No | Yes | Yes | Yes | Yes | Yes |
Gowron | No | No | Yes | Yes | Yes | No | 2 ep. |
Martok | No | No | No | Yes | Yes | Yes | Yes |
Production[edit]
The series was created by Rick Berman and Michael Piller at the request of Brandon Tartikoff, and was produced by Paramount Television. As overall head of Star Trek production, Berman served as executive producer for the series's entire run. Piller initially served as second executive producer and showrunner, but left the series in 1995 to manage Star Trek: Voyager. Writer Ira Steven Behr was promoted by Berman to replace Piller as showrunner and held that role for the remainder of the series. In addition to Berman, Piller, and Behr, key writers included Robert Hewitt Wolfe, Ronald D. Moore, Peter Allan Fields, Bradley Thompson, David Weddle, Hans Beimler and René Echevarria.
DS9 was the first television series in the Star Trek franchise to use computer-generated imagery (CGI) for exterior space shots. Although a few other television series, like Babylon 5, were using CGI exclusively to avoid the high expense of model photography, the Star Trek franchise had continued to use primarily physical models for exterior space shots because producers felt models provided more realism.
The USS Defiant was the first full-fledged starship in the Star Trek franchise to have a CGI model used in regular production. It was first built and animated by VisionArt, which was responsible for the morphing of Odo. The CGI Defiant was featured heavily in the season 4 episode 'Starship Down', where it battled a CGI Jem'Hadar ship in a CGI gas giant's atmosphere.[11]
However DS9 also continued using models where needed, such as the season 4 premiere and the alternate-universe episode 'Shattered Mirror'.[12][13] 'During the battle sequences between the Federation and Klingon fleets, the effects department used Playmates toys, Ertl model kits and Hallmark Bird-of-Prey Christmas ornaments in the background in an effort to keep production costs down.'
The series started using Foundation Imaging and Digital Muse in 1997 (Seasons 6 and 7) for its effects as part of the ongoing storyline of the Dominion occupation of the station. However, the Deep Space Nine station itself remained a physical model throughout the series' seven-year run except for the final scene of the series. In October 2006, the physical model of the station was sold for $132,000 in an auction at Christie's auction house in New York City.
The opening sequence was likewise modified in the fourth season, most notably by the introduction of CGI inserts of construction work being performed on the station's exterior by suited maintenance crews, and more docking and launching activity by ships, along with subtle colored wisps of nebulae added to the background starfield. Accordingly, the solo trumpet (preceded by a solo French horn) featured prominently in the main theme by Dennis McCarthy to accentuate the lonely isolation of the outpost was augmented by a chorus of brass as the station attained a more bustling atmosphere following the presence of the wormhole.
The digital effects were done at television resolution and thus the series cannot be re-released in HD format without re-doing the special effects.[14]
Episodes[edit]
Overall 176 episodes of Star Trek: Deep Space Nine would be produced.[15]As mentioned, Deep Space Nine debuted in January 1993 with the double-episode 'The Emissary', half-way through the 6th season of The Next Generation. This marked the first time in the history of the franchise that two series were airing concurrently, which would continue until DS9 ended in 1999. DS9 was the sole Star Trek series on the air during the fall of 1994. However, while DS9 was syndicated and thus aired nationally on multiple networks, Star Trek:Voyager on the then-new UPN network. One of the most acclaimed episodes of DS9 is 'In the Pale Moonlight' in Episode 19 of Season 6, involving a plot with Sisko, Garak, and the Dominion war.[15] Other noted episodes include 'Little Green Men' which takes Star Trek to Roswell, New Mexico, 'Call to Arms' for its role in the series' War-saga, and 'Take Me Out To The Holosuite' noted for featuring the sport baseball.[15]
Overall, with 176 episodes with an average run-time of 43 minutes each, Geek.com calculated that there was 126 hours of viewing time for the series.[16]
Season 1 | Season 2 | Season 3 | Season 4 |
---|---|---|---|
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Season 5 | Season 6 | Season 7 |
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Reception[edit]
Although DS9's ratings remained solid, it was never as successful as the syndicated Star Trek: The Next Generation, with approximately 6% versus 11% of US households watched during sweeps months. However, it continued to perform better than its franchise sibling Star Trek: Voyager, which averaged around 5% according to the Nielsen ratings. One factor was the increasingly crowded syndicated marketplace, which provided viewers with a number of alternative television series to follow.[citation needed] Another factor was the minimal promotion for DS9, as Paramount focused its efforts on its flagship network series Star Trek: Voyager.[citation needed] From 1995 onwards, most of the independent stations joined new networks (UPN and The WB), and these primetime shows gradually pushed syndicated programming into less favorable time slots as the US television market expanded from four networks (in 1987 when TNG premiered) to six.[citation needed]
Critical reception[edit]
DS9 was well received by critics, with TV Guide describing it as 'the best acted, written, produced and altogether finest' Star Trek series.[17] Despite debuting in the shadow of The Next Generation, DS9 achieved a considerable level of success in its own right. According to a press release through Newswire on April 7, 1999, it was the #1 syndicated show in the United States for adults 18–49 and 25–54. The characters of DS9 were featured on the cover of TV Guide ten times during its run, including several 'special issue' editions in which a set of four different-covered versions were printed.
The series won a number of awards. It was nominated for Emmy Awards every year of its run, including for makeup, cinematography, art direction, special effects, hairstyling, music (direction and composition), and costumes. Of these, it won two for makeup (for 'Captive Pursuit' and 'Distant Voices'), one for special visual effects (for 'Emissary'), and one for its main title theme music (by composer Dennis McCarthy). It was also nominated for two Hugo Awards in the category of Best Dramatic Presentation for 'The Visitor' and 'Trials and Tribble-ations'.
Deep Space Nine drew praise from African-American, Latino and other minority viewers for its handling of the minority characters, particularly the Sisko family members.[18] In addition, actor Alexander Siddig (who portrayed Dr. Bashir) expressed his enthusiasm for the fact that he, with his English accent, unusual screen name at time of casting (Siddig El Fadil), and North African heritage was a main character on a prominent television series despite being not as easily racially identifiable to audiences as many other actors and characters were on TV at the time.[19]
Andrew J. Robinson commented on DS9 not being as popular as its predecessors: 'It's not the most popular because it's the most morally ambiguous.. Whenever you have characters who are gray rather than black and white.. Although they are more interesting, they are more difficult for people to get a handle on. I loved DS9 because they were gray, because the characters were not easily definable, but that's not for everybody'.[20]
Author Terry J. Erdmann commented: 'DS9 was never as popular as its two predecessors, although it arguably was a more critically acclaimed series'.[21] In 2018, IndieWire ranked Star Trek: Deep Space Nine as the 3rd best space science fiction show set in outer space, while placing Star Trek (1966–1969) in 8th place and Star Trek:The Next Generation (1987–1994) in 12th place among other shows in this genre, including 18 overall.[22]
In 2016, The Washington Post ranked 'In the Pale Moonlight' the 4th best episode of all Star Trek and called the Dominion war arc possibly the 'richest narrative' of the Star Trek universe.[23] However, they noted that individual episodes of the Dominion war do not stand out particularly besides from this one.[23] One reason they felt it is an important episode is that it highlights the moral confusion and compromises that can occur during wartime.[23]
In 2016, in a listing that included each Star Trek film and TV series together, this series was ranked 3rd by the L.A. Times.[24]
In 2017, Vulture ranked Star Trek:Deep Space Nine the number one best live-action Star Trek television show.[25]
In 2019, Popular Mechanics ranked Star Trek: Deep Space Nine the 16th best science fiction television show ever.[26]
Former cast members and staff[edit]
In a 2007 interview with If Magazine, George Takei, who had played the character Hikaru Sulu in The Original Series, criticized DS9 for being the polar opposite of Gene Roddenberry's philosophy and vision of the future.[27] However, D. C. Fontana stated in an interview that Roddenberry would have liked it and its dark themes, since he was a World War II veteran.[28]Bjo Trimble, one of the major forces behind the letter-writing campaign that helped renew The Original Series for its third season, commented that she thought Roddenberry would have 'come to like DS9, had he lived to see it,' and that 'the only reason there were not full battles in early Star Trek is lack of funds to pull it off, and lack of technology to show it. Otherwise, GR would certainly have added it; he knew what audiences liked'.[29]
Roddenberry is quoted in The Making of Star Trek DS9 as having doubts that a non-exploration show could work, and being displeased with early concepts presented to him in 1991. However, Rick Berman stated in the Star Trek: Deep Space Nine Companion that Roddenberry had given him his blessing for developing it close to his death.
At Shore Leave 14 in July 1992, Majel Barrett commented on Roddenberry's involvement, saying: 'He knew about it, but he was not about to become involved. He had done what he wanted to do and that was it. He just wished them Godspeed and go ahead. And as long as the name Star Trek is on it, yes, the estate will have a part of the action.'[30]
Ronald D. Moore, one of the series' main writers (who previously wrote for Star Trek: The Next Generation and went on to create the re-imagined Battlestar Galactica), praised the show as the 'ultimate achievement for the [Star Trek] franchise' in 2002:
I think Deep Space [Nine] was the show that really took Star Trek as far as you could take it. You have The Original Series which is a sort of a landmark, it changes everything about the way science fiction is presented on television, at least space-based science fiction. Then you have Next Generation which, for all of its legitimate achievements is still a riff on the original. It's still sort of like, ok, it's another star ship and it's another captain – it's different but it's still a riff on the original. Here comes Deep Space [Nine] and it just runs the table in a different way. It just says ok, you think you know what Star Trek is, let's put it on a space station, and let's make it darker. Let's make it a continuing story, and let's continually challenge your assumptions about what this American icon means. And I think it was the ultimate achievement for the franchise. Personally, I think it's the best of all of them, I think it's an amazing piece of work.[31]
Babylon 5 controversy[edit]
Babylon 5, another science fiction series with a similar premise, set on a space station, aired around the same period as Deep Space 9. Babylon 5 creator J. Michael Straczynski indicated that Paramount Television was aware of his concept as early as 1989,[32] when he attempted to sell the show to the studio, and provided them with the series bible, pilot script, artwork, lengthy character background histories, and plot synopses for 22 'or so planned episodes taken from the overall course of the planned series'.[33][34]
Paramount declined to produce Babylon 5, but later announced Deep Space Nine was in development, two months after Warner Bros. announced its plans for Babylon 5. Straczynski stated that, even though he was confident that Deep Space Nine producer/creators Rick Berman and Michael Piller had not seen this material, he suspected that Paramount executives used his bible and scripts to steer development of Deep Space Nine.[35][36][37] He and Warner did not file suit against Paramount, largely because Straczynski did not see it as a productive option, with negative repercussions for both TV series. In 1993 he responded to a Deep Space Nine fan who saw the lack of legal action as proof that Straczynski's allegation was unfounded, 'If there is any (to use your term) winking and nudging going on, it's on the level of 'Okay, YOU (Paramount) know what happened, and *I* know what happened, but let's try to be grownup about it for now,' though I must say that the shapechanging thing nearly tipped me back over the edge again. If there are no more major similarities that crop up in the next few weeks or months, with luck we can continue that way.'[37]
Multimedia[edit]
Music[edit]
On June 30, 1993, between seasons one and two, DS9 followed the example of other Star Trek series in releasing the original score from its pilot episode on CD. The title theme was also made available as a CD single. Music from several other episodes is included on The Best of Star Trek releases.[38][39]
Originally created in the hope that Frank Sinatra Jr. would take the role,[40] the character Vic Fontaine (instead played by 1960s heart throb James Darren) was introduced in the sixth-season episode 'His Way'. The character was a self-aware holographic Las Vegas lounge singer and night club owner from the early 1960s. Vic was popular with the station's crew and performed many period songs by, among others, Frank Sinatra and Nat King Cole. Darren's role allowed him to release This One's from the Heart on August 24, 1999, featuring songs that Vic sang in the show and other period pieces.
On February 12, 2013, La La Land Records released a limited edition, four-disc soundtrack collection entitled the Star Trek: Deep Space Nine Collection. The discs contain various cues from episodes scored by Dennis McCarthy, Jay Chattaway, David Bell, Paul Baillargeon, John Debney, Richard Bellis and Gregory Smith. Only 3000 copies of the collection were printed.[41][42]
Home media[edit]
Episodes of DS9 were made available on VHS cassettes. The series was released on VHS in the United Kingdom starting August 2, 1993. Each video cassette contained two episodes and unique artwork and character/plot information. The first VHS release in the United States came on November 19, 1996.
![Ds9 Dominion War Episodes Ds9 Dominion War Episodes](https://s-media-cache-ak0.pinimg.com/736x/c3/d2/8a/c3d28a6cada57e5b2f170f592d357df8.jpg)
Beginning in 1996, DS9 began releases on LaserDisc. Picture and sound quality in this format was significantly better than that of VHS cassettes; however, the Laserdisc format was discontinued in 1997. Only 30 discs, or the first 60 episodes, were released, comprising the first, second and part of the third season before Pioneer halted its production of Star Trek laserdiscs in October 1999. DS9 LaserDiscs were also produced for the Japanese and European markets. In Japan, the first five seasons were released in a series of ten boxed sets (two per season) before they were canceled around the same time as the US releases.[43] In Europe, a select few DS9 episodes were released on PAL laserdisc: 'Emissary', also included in the boxed set Star Trek: The Pilots; 'The Way of the Warrior', parts 1 and 2; and 'Trials and Tribble-ations' from DS9, 'The Trouble with Tribbles' from Star Trek: The Original Series, and 'More Tribbles, More Troubles' from Star Trek: The Animated Series.
Following the DVD release of Star Trek: The Next Generation in 2002, DS9 was released on DVD beginning in February 2003. DS9 was released in boxed sets of one season each, which were released approximately one month apart. Each season contains several 'special features', including a biographical look at a main character, information from make-up designer Michael Westmore on how various aliens were created, and interviews with cast members and crew members.
The sets also include 'Section 31' easter eggs that give a brief look at other aspects of the series. The Region 2 and 4 DVDs also come with bonus CD-ROM discs that allow users to build a 'virtual' DS9 on their computer with each release (this software can no longer be installed as the on-line registration is no longer available). On October 26, 2004, a boxed set of all seven season sets was also released.
What We Left Behind[edit]
In 2017, Ira Steven Behr announced he had reconvened much of the former cast and crew of Deep Space Nine for a documentary film entitled What We Left Behind. It had a very positive response and surpassed its fundraising goals, and this success lead to ground-breaking conversions of Deep Space Nine footage into higher definition although it caused some delays. A screening version was released in late 2018 in Hollywood, New York, and at the Destination Star Trek convention in the U.K.[44][45][46]
By February 2017, the documentary was partially finished, according to Behr, with an Indiegogo fundraising page set up to crowdsource the rest of the money needed to complete it. In addition to interviews with cast and crew, the documentary will explore Deep Space Nine's legacy; Behr also reconvened the series' old writers' room to develop a script for the first episode of an imagined eighth season, which will be featured in the film.[47] In 2017, a tentative release date was set for 2018.[48] In the summer of 2018, the makers scheduled special release events starting in October 2018.[45] A version was able to be screened at these special release events at Paramount in Hollywood and some other locations, but a decision was made to delay the media release to increase the amount of high-definition conversions.[44][46]
In 2017, a fundraiser for the documentary surpassed its target of nearly $150,000 within a day of going live.[49] It went on to raise over $500,000 by March 2017, almost four times the amount requested.[50] When it concluded it had raised over $631,000 from thousands of donators.[51]
Development of What We Left Behind took extra time due in part to the large amount of material for editing and technical challenges.[52] This includes crafting special effects footage and working with CBS to make high definition scans.[52] The makers also expanded the amount of footage that is being remastered, and innovated with a 16:9 scan of the original DS9 film.[45]
In August 2018, it was announced the documentary would have original music scored by Star Trek veterans Dennis McCarthy (256 Star Trek episodes scored) and Kevin Kiner (10 Star Trek episodes scored).[45] The documentary's producer is Kai de Mello-Folsom, in consultation with others from the original creative team including Star Trek franchise legends such as Michael Okuda, Jonathan West, and Doug Drexler.[53]
The 2018 version premiered in late 2018 at the following locations and dates:[44]
- 12 October 2018, Los Angeles, USA
- 14 October 2018, New York, USA
- 20 October 2018, in Birmingham, U.K., during the Destination Star Trek convention[44]
The strong community support and overall response, as well as the creative team's access to resources to create the high-definition sequences led to a delay to increase the sequences filmed in higher-definition for the documentary.[46] Although the screening version was complete and could have been released as-is, a creative decision was made to undertake converting more sequences into high definition.[46]One teaser showed concept art of a Star Trek spacecraft, which appears in the documentary in an animated sequence.[54] The spacecraft design was by John Eaves, who designed many spacecraft in the franchise's television shows and theatrical films.[54]
On May 13, 2019 there was a limited theatrical release.[55] It played at about 800 theaters and grossed over $380,000.[56] The film reviewed various aspects of the series from a perspective of twenty years later, explored a plot for a notional 8th season, and included many clips re-scanned from original footage in high definition.[55]
On Rotten Tomatoes it has an approval rating of 100% based on reviews from 5 critics.[57]
Books[edit]
Pocket Books has published several dozen books based on DS9. Some of these were novelizations of memorable episodes, such as 'Emissary', 'The Search' and 'What You Leave Behind', which were usually published a few days after the episode aired in the United States. Several novels were part of 'crossover' series between the Star Trek franchises, while others were part of other franchises but dealt with events laid out in DS9. For example, The Battle of Betazed tells of how Deanna Troi attempted to resist the Dominion occupation of her world (mentioned in the episode 'In the Pale Moonlight'). Most focus on the station and its crew, with a notable exception being Ira Steven Behr and Robert Hewitt Wolfe's Legends of the Ferengi.
The 'Millennium' series by Judith and Garfield Reeves-Stevens, published by Pocket Books beginning in 2000, consists of The Fall of Terok Nor (book 1), The War of the Prophets (book 2), and Inferno (book 3). The series lays out an alternate ending to DS9 (the novels were actually written before the series concluded) in which a second wormhole is created by the actions of a number of shady characters, destroying the station. In the space-time distortion that occurs, most of the crew are transported 25 years into the future—a future in which the Federation and its allies are virtually crushed and a fanatical sect of Bajorans who worships the Pah-wraiths have ascended to power and plan to destroy the universe to bring about a higher state of existence. Inferno ends the series as an unexpected mode of time travel is discovered after the end of the universe, allowing the DS9 crew to alter past events.
Avatar, a two-part novel published on May 1, 2001, picked up where the series left off. It began season 8 of DS9, into which A Stitch in Time (a biographical look at the life of Garak, written by Andrew Robinson himself) was incorporated retroactively. The events of 'What You Leave Behind', DS9's series finale, caused some radical changes to occur in Season 8. As Benjamin Sisko had entered the Celestial Temple, Colonel Kira was given command of the station while a new commander named Elias Vaughn took over her position, Garak became the leader of post-war Cardassia, Odo helped the Changelings rebuild, and Rom presided over the Ferengi Alliance.
Other publications, such as the Deep Space Nine Technical Manual and Deep Space Nine Companion, are common to most of the Trek series. The DS9 Companion contains detailed episode guides and interviews with actors, writers, directors and other staff members.
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DS9 series influences were included in role-playing game reference books from Last Unicorn Games and Decipher, Inc. Additionally, several novels have also been released in audio form, narrated by René Auberjonois and Armin Shimerman among others.
Comics[edit]
Outside its line of novels, DS9 has been the subject of several comic books published by Malibu Comics, Wildstorm Comics, Marvel Comics and IDW. One comic is a spin-off, detailing Nog's experiences at the Starfleet Academy. Another DS9 comic book series became an exceptional example of licensed Star Trek works influencing each other, as a major character from Wildstorm's N-Vector, Tiris Jast, appeared in the Avatar, Part I novel.
Games[edit]
Several video games focusing on DS9 have been released. The first was Crossroads of Time, a 1995 side-scrolling game released for the Super NES and Genesis. The game takes place around the time of the series premiere, borrowing some stories from early episodes such as 'Past Prologue' and creating others. A number of problems reportedly impeded the game's development process,[58] and it was met with mixed reactions.
Three DS9-themed games were released for the PC: Harbinger in 1996, The Fallen in 2000, and Dominion Wars in 2001. A board game was released as part of the now-defunct 'component board game' series, which included an intercompatible board game for Star Trek: The Next Generation.[59]DS9's role-playing book was one of several that failed to be released into wide circulation when Decipher, then publisher of the Star Trek role-playing game, discontinued its line.[citation needed]
The series features prominently in the Star Trek Customizable Card Game, particularly its second edition. In the game's first edition, Deep Space Nine is the titular fifth set, followed by one entitled 'The Dominion' and several other DS9-themed sets. In the second edition, there are two types of cards for the United Federation of Planets, which may be placed at Earth or Deep Space Nine. The Ferengi, Dominion, Cardassian, Bajoran, and Maquis affiliations are primarily DS9-derived material, while the Klingon affiliation also borrows strongly from it.[60]
The PC game Star Trek Online features Deep Space Nine as a trading hub. The lower ring (The Promenade) contains vendors, and the upper ring offers views of surrounding space. In addition, the expansion “Victory is Life” is focused around DS9 and the Gamma Quadrant.
Other merchandising[edit]
Along with the rest of the Star Trek franchise, DS9 has been the subject of much merchandising. Action figures, keychains, models, and other items have been released. The station itself, which is highly recognizable and iconic of the series, is the subject of many of these items. Paramount also sells Starfleet uniforms; among the styles is the so-called 'DS9-style' uniform, which is primarily black with a division color (red for command, yellow for engineering or security, blue/green for medical and the sciences) on the shoulders and a grayish-purple undershirt is seen underneath the uniform.
DS9 was represented at Star Trek: The Experience, an attraction at the Las Vegas Hilton that recreated both Quark’s Bar & Restaurant and the Promenade. The former served Star Trek-style food and drinks, and hosted gatherings such as conventions. The latter (called the Shopping Promenade) sold various souvenirs; among the items for sale were 'official' Starfleet uniforms and action figures. The attraction closed in September 2008.
In 2019, a new Star Trek: Deep Space Nine themed video game gambling machine was announced, with a tie-in promotion to the Las Vegas Star Trek convention.[61] The maker's noted 'Star Trek commands one of the world's most passionate fan bases, and we're thrilled to reveal the new Star Trek: Deep Space Nine - Red Alert game.'[61] In the product, gambler-gamers defend the newly freed people of Bajor and the eponymous space station from Gamma Quadrant threats using a virtual Runabout and Defiant, some of the famous spacecraft from the hit TV show.[61]
See also[edit]
References[edit]
Ds9 Dominion War Episode Names
- ^'Star Trek: Deep Space Nine – Watch Full Episodes'. CBS.com. Retrieved June 29, 2017.
- ^'Star Trek DS9 Debuted 24 Years Ago Today'. Startrek.com. Retrieved June 29, 2017.
- ^ abcdThe DVD set Star Trek: Deep Space Nine—The Complete First Season includes the featurette 'A Bold New Beginning', in which Berman and others explain the series's early design phases and their goals in creating it.
- ^ abSource: 'New Frontiers'. DVD extra included with Star Trek: Deep Space Nine – The Complete Second Season.
- ^'Trek Expo Tulsa, Oklahoma'. sidcity.net (official site). June 25, 2005. Archived from the original on June 26, 2008. Retrieved July 8, 2008.
- ^Source: 'Crew Dossier – Jadzia Dax'. Included with Star Trek: Deep Space Nine – The Complete Second Season.
- ^Source: 'Charting New Territory'. DVD extra included with Star Trek: Deep Space Nine – The Complete Fourth Season. Of Worf, writer/producer Robert Hewitt Wolfe said in an October 20, 2002 interview that the studio felt DS9's ratings were sagging at the end of the third season, and he and the other writers were asked to give viewers a new reason to watch. Their answer was to make Worf a part of the cast.
- ^Combs, Jeffrey. Interview conducted January 30, 2003. Included as a 'Hidden File' with Star Trek: Deep Space Nine – The Complete Third Season.
- ^Okuda, Michaeèl; Okuda, Denise (1999). The Star Trek Encyclopedia. New York: Pocket Books. p. 837. ISBN0671536095.
- ^'IMDb Star Trek: Deep Space Nine - episode list'.
- ^'Deep Space Nine'. Archived from the original on October 22, 2009. Retrieved December 5, 2007.
- ^Season 4 DVD Special Effects commentary
- ^'The Way of the Warrior (episode)'.
- ^Whitbrook, James. 'The Detailed, Depressing Reason Deep Space Nine and Voyager May Never Get Full HD Versions'. io9. Univision Communications. Retrieved February 3, 2017.
- ^ abc''Star Trek: Deep Space Nine' — The 20 Greatest Episodes'. The Hollywood Reporter. Retrieved April 8, 2019.
- ^'Star Trek: Deep Space Nine condensed: How to watch the most story-driven Trek'. Geek.com. January 19, 2015. Retrieved July 13, 2019.
- ^'eBooks - Star Trek: Deep Space Nine: Unity by S. D. Perry - eReader.com'. January 4, 2008. Archived from the original on January 4, 2008. Retrieved June 29, 2017.
- ^Pounds, Michael Charles (May 2009). 'Explorers'. African Identities. 7 (2): 209–235. doi:10.1080/14725840902808892.
- ^'Star Trek Deep Space Nine – The Complete Sixth Season: Avery Brooks, Rene Auberjonois, Cirroc Lofton, Alexander Siddig, Colm Meaney, Nana Visitor, Armin Shimerman, Terry Farrell, Michael Dorn, Mark Allen Shepherd, Randy James, Robert Ford, Allan Eastman, Allan Kroeker, Anson Williams, David Livingston, Jesús Salvador Treviño, LeVar Burton: Movies & TV'. Retrieved June 29, 2017.
- ^'Robinson On Why He Couldn't Leave Garak Behind: Andrew J. Robinson'. TrekToday. 2002. Retrieved January 5, 2015.
- ^Walker, Adam (2012). 'Paula M. Block & Terry J. Erdmann: TNG 365 Interview, Part 2'. Trekcore. Retrieved December 28, 2014.
- ^Miller, Liz Shannon; Miller, Liz Shannon (April 18, 2018). 'The 18 Best Sci-Fi TV Shows Set In Space, Ranked'. IndieWire. Retrieved February 27, 2019.
- ^ abcDrezner, Daniel (September 13, 2016). 'The top 10 'Star Trek' episodes ever'. The Washington Post. Retrieved June 24, 2019.
- ^Bernardin, Marc. 'Ranking every 'Star Trek' movie and TV series from first to worst'. latimes.com. Retrieved July 12, 2019.
- ^www.vulture.comhttps://www.vulture.com/article/star-trek-every-tv-show-ranked-worst-to-best.html. Retrieved July 12, 2019.Missing or empty
|title=
(help) - ^Hoffman, Jordan; Wakeman, Gregory (July 12, 2019). 'The 50 Best Sci-Fi TV Shows Ever'. Popular Mechanics. Retrieved July 20, 2019.
- ^Elliot, Sean (November 20, 2007). 'Exclusive: George Takei Thanks Fans For 40 Years of 'Star Trek''. iF Magazine. Archived from the original on November 23, 2007. Retrieved November 20, 2007.
- ^Pascale, Anthony (August 16, 2007). 'Interview – Dorothy Fontana On New Comics, New Novel + Canon, DS9, ENT & New Movie'. TrekMovie.com. Retrieved December 28, 2014.
- ^Tyler, Greg (August 1999). 'Bjo Trimble email interview'. trekplace.com. Retrieved December 28, 2014.
- ^Tyler, Greg (July 1992). 'Star Trek Deep Space Nine Pre-Premiere Bible'. Trek Writer's Guild. Retrieved December 28, 2014.
- ^'Star Trek Deep Space Nine – The Complete Seventh Season: Avery Brooks, Rene Auberjonois, Cirroc Lofton, Alexander Siddig, Colm Meaney, Nana Visitor, Armin Shimerman, Terry Farrell, Michael Dorn, Mark Allen Shepherd, Randy James, Robert Ford, Allan Kroeker, Anson Williams, Chip Chalmers, David Livingston, John T. Kretchmer, Jonathan West, LeVar Burton: Movies & TV'. Retrieved June 29, 2017.
- ^'J. Michael Straczynski post'. Jmsnews.com. December 7, 1994. Retrieved November 7, 2010.
- ^'J. Michael Straczynski commenting on B5's attempted sale to Paramount + B5/DS9 similarities'. Jmsnews.com. January 13, 1996. Retrieved November 7, 2010.
- ^Sylvain, Nicholas, Judge (Retired) (April 8, 2003). 'Star Trek: Deep Space Nine: Season One (review)'. DVD Verdict Review.CS1 maint: uses authors parameter (link)
- ^'J. Michael Straczynski post from 1992'. The J. Michael Straczynski Message Archive (jms.com). February 4, 1992. Retrieved October 26, 2009.
- ^'J. Michael Straczynski post from 1997'. The J. Michael Straczynski Message Archive (jms.com). September 15, 1997.
- ^ ab'B5 information from GEnie'. National Technical University of Athens. Retrieved July 6, 2016.
- ^'Star Trek Soundtracks: Emissary'. Retrieved March 6, 2013.
- ^'Star Trek Soundtracks: The Best of Star Trek: Volume 2'. Retrieved March 6, 2013.
- ^Erdmann, Terry J.; Block, Paula N. (2000). Star Trek: Deep Space Nine Companion. New York: Pocket Books. p. 562. ISBN0671501062. Retrieved June 29, 2017.
- ^'LA LA LAND RECORDS, Star Trek: Deep Space Nine'. Archived from the original on March 5, 2013. Retrieved March 11, 2013.
- ^'Star Trek Soundtracks: Star Trek: Deep Space Nine Collection'. Retrieved March 6, 2013.
- ^Young, Blaine (November 22, 2003). 'Star Trek: Deep Space Nine'. Blam Entertainment Group. Retrieved January 31, 2015.
- ^ abcd'What We Left Behind World Premiere – TrekToday'.
- ^ abcdPascale, Anthony. 'Star Trek: DS9 Composer Dennis McCarthy To Score 'What We Left Behind,' Backer Premieres Announced'. TrekMovie.com.
- ^ abcd'See 'Star Trek: Deep Space Nine' in HD for the First Time'. Star Trek.
- ^'Deep Space Nine documentary gets crowdfunding push'. Mashable. February 9, 2017. Retrieved February 9, 2017.
- ^Elderkin, Beth (February 8, 2017). 'A New Deep Space Nine Documentary Reveals What Would Have Happened in Season Eight'. io9. Retrieved February 9, 2017.
- ^'What We Left Behind: Star Trek Deep Space Nine Doc'. Indiegogo. Retrieved February 9, 2017.
- ^Howell, Elizabeth; March 10, Space com Contributor; ET, 2017 11:00am. ''Star Trek: Deep Space Nine' Doc Warps Way Beyond Crowdfunding Goal'. Space.com.
- ^Hadyniak, Kyle (March 10, 2017). 'DS9 Documentary Reaches Final Day, Team Releases Thank You Video [UPDATED]'.
- ^ ab''Star Trek: Deep Space Nine' Documentary Offers New Update'. Star Trek.
- ^Pascale, Anthony. 'Editing Completed For 'What We Left Behind,' Star Trek: DS9 Documentary Expected To Be Released This Year'. TrekMovie.com.
- ^ abStaff, TrekMovie com. ''What We Left Behind' Doc Unveils 'Star Trek: Deep Space Nine' Season 8 Starship'. TrekMovie.com.
- ^ abBastién, Angelica Jade (May 17, 2019). 'What We Left Behind Boldly Argues for Star Trek: Deep Space Nine's Place in the Black TV Canon'. vulture.com. Retrieved May 27, 2019.
- ^'Daily Box Office for Monday, May 13, 2019'. www.boxofficemojo.com. Retrieved May 27, 2019.
- ^https://www.rottentomatoes.com/m/what_we_left_behind_looking_back_at_star_trek_deep_space_nine
- ^'Maurice Molyneaux: Deep Space Nine (Genesis/SNES)'. Archived from the original on February 6, 2005. Retrieved June 29, 2017.
- ^'Star Trek Deep Space Nine: The Board Game | Board Game'. BoardGameGeek. Retrieved June 29, 2017.
- ^'Older Decipher Star Trek Card Products'. Jklm.net. Retrieved June 29, 2017.
- ^ abc'Star Trek: Deep Space Nine - Red Alert Video Game Gambling Machine Revealed'. Star Trek. Retrieved August 1, 2019.
External links[edit]
Wikimedia Commons has media related to Star Trek: Deep Space Nine. |
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Star Trek Ds9 Dominion War Episodes
- Star Trek: Deep Space Nine on IMDb
- Star Trek: Deep Space Nine at TV.com
- Star Trek: Deep Space Nine at StarTrek.com
- Star Trek: Deep Space Nine at Memory Alpha (a Star Trekwiki)
- Star Trek: Deep Space Nine at Memory Beta
- Star Trek: Deep Space Nine at CBS.com
- Star Trek: Deep Space Nine on Hulu.com
Ds9 Dominion War Episodes 2017
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