TO BOLDLY REVIEW #14 – STAR TREK: DEEP SPACE NINE (1993 -1999) – SEASONS 1 – 7

TO BOLDLY REVIEW #14 – DEEP SPACE NINE (1993 -1999)

Created by: Rick Berman, Michael Piller

Based on Star Trek: by Gene Roddenberry

Showrunners: Michael Piller (1993–1995) and Ira Steven Behr (1995–1999)

Main Cast: Avery Brooks, René Auberjonois, Terry Farrell, Cirroc Lofton, Colm Meaney, Armin Shimerman, Alexander Siddig, Nana Visitor, Michael Dorn, Nicole de Boer, etc.

Theme music composer: Dennis McCarthy

*** MAY CONTAIN SPOILERS ***



It’s been over a year since I reviewed the Star Trek feature films here. Thus, much of 2022 was spent watching the seven series of Star Trek: Deep Space Nine. The fact that I got through all seven seasons of the show illustrates two things:

  1. I am determined to finish this viewing project of watching every Star Trek produced film and television show released from the original series to now!
  2. Star Trek: Deep Space Nine was a really excellent show that made me want to watch it the end.

While containing lots of genre and narrative similarities to the previous Trek television productions, Star Trek: Deep Space Nine (DS9), expanded further the characters, worlds and vision established brilliantly by The Next Generation. Crossing over and surpassing the TNG timeline, DS9‘s narratives centralized around the space station positioned close to the planet of Bajor.

The Bajorans occupy the Alpha Quadrant and had one of the oldest and richest cultures in Star Trek lore. Driven by a spirituality similar to Buddhism, they are a proud people who suffered greatly during the invasion by the Cardassians, who built Deep Space 9 to control the Bajorans and the Alpha Quadrant. After the defeat of the Cardassians, Starfleet were assigned to manage DS9 and the series starts with Captain Benjamin Sisko (Avery Brooks) taking his place as commander of the station. To his surprise, Sisko becomes “Emissary” to the Bajoran prophets. A holy position which drives many storylines throughout the series and conflicts with the logical aspects of his role as Captain.



Deep Space Nine has many fine standalone episodes, however, what makes it differ greatly from the previous franchise series is the complex narrative and character arcs which dominated the latter seasons. These were directly linked by the brutal war which developed between Starfleet, their allies and the Dominion and the Cardassians. Personally, I could have done without many of the romantic “pairings-off” we got between the characters, however, they did raise the emotional stakes for them and brought greater narrative resonance. Lastly, the expansion of the Star Trek universe through use of the wormhole, allowed many other alien species to be introduced to the ever-growing Star Trek universe.

While sci-fi shows can live and die on their scientific concepts and themes, great characters are always at the heart of Star Trek. Sisko is a commanding presence throughout, yet Odo (René Auberjonois), a shapeshifter, was arguably the most complex of all characters, especially when a massive narrative reveal is dropped during Season 3. The familiar face of Worf (Michael Dorn) joined in Season 4 and he provided seriousness when compared to the more energetic characters of Jadzia Dax (Terry Farrell) and the scheming, but humorous Ferengi, Quark (Armin Shimerman). The Bajorans on the station were represented by Nana Visitor’s formidable, Kira Nerys, while Doctor Julian Bashir (Alexander Siddig) and Miles O’Brien (Colm Meaney) had a fine bromance. Finally, Deep Space Nine also had some fantastic guest actors, notably Louise Fletcher, Frank Langella, Iggy Pop, Tony Todd, James Darren and Andrew Robinson as Garak. The latter two actors became virtual regulars and Garak, the mysterious and exiled Cardassian, was probably my favourite character in the whole show.

To end this short review I’d like to pick seven of my favourite episodes – one from each season. They represent some of the best examples of, Deep Space Nine, an often brilliantly written, powerfully acted, funny and moving science fiction series.


DEEP SPACE NINE – SEVEN GREAT EPISODES

1. EMISSARY – EPISODE 1

A fine introduction to the characters, setting and themes which will dominate the next seven seasons.


2. THE JEM HADAR – EPISODE 26

A brilliant episode which introduced the fearsome Dominion soldiers, The Jem Hadar.


3. IMPROBABLE CAUSE / THE DIE IS CAST – EPISODES 20 & 21

Odo investigates a murder attempt on Garak on the space station. Their complex relationship thickens within a superbly scripted espionage thriller, full of twists and revelations.


4. THE VISITOR – EPISODE 3

An amazingly involving narrative which finds Sisko lost in a temporal void, with his son, Jake, prepared to make the ultimate sacrifice to save his father.


5. TRIALS AND TRIBBLE-ATIONS – EPISODE 6

An incredible episode full of amazing production values as it merges both present and past characters from Star Trek. The DS9 crew are sent back in time where they encounter their Enterprise predecessors and those damned pesky Tribbles.


6. FAR BEYOND THE STARS – EPISODE 13

Developed like a BBC Play for Today drama, this episode is thematically meta-rich, exploring science-fiction writing and racism in 1950’s America. How Avery Brook’s dual identities of Benny Russell and Captain Sisko connect across the universe is enigmatic, poetic and utterly compelling.


7. WHAT YOU LEAVE BEHIND (Parts 1 and 2) – EPISODEs 25/26

Despite replacing Jadzia with an inferior (Ezri) Dax, and containing a few unnecessary filler episodes with that character, the final season ultimately brought the war with the Dominion to an astounding dramatic conclusion. Sisko’s journey as the Emissary also reached a spiritually emotional and intelligent denouement. One of the best final television seasons of all time, perhaps?


[BOOK REVIEW] A Sense of Dread: Getting Under the Skin of Horror Screenwriting by Neil Marshall Stevens

A Sense of Dread: Getting Under the Skin of Horror Screenwriting by Neil Marshall Stevens



As a filmgoer many people are willing to be frightened and induce anxiety and be sickeningly entertained through horror cinema. But why go out of your way to scare yourself?  On the other side, many others in society consider horror films to be depraved and lead to copycat crimes. I am not one of those individuals. I love horror. I love gore. I love watching and telling horror stories. I love being scared in the dark by sounds and images from the silver screen.

Other than being entertained on a primal level, horror cinema distracts me from my own mortality too. This artificial dread paradoxically relieves me from the fear of the end. It’s a way for me to face my fears head on, but safely hidden behind my popcorn.

Further, the horror genre provides one of the most shared experiences for audiences at the cinema. Collectively, this group experience scares us and provides ultimate relief by the time one leaves the cinema. Indeed, horror films are often a staple for teens or young adults looking for thrills on a Friday or Saturday night. They can also make great date movies that allow you to get closer to someone as you both share the fear in front of you.  

Don’t ever forget that horror cinema is big business. Often on a very low budget. The Blair Witch Project (1999), Eraserhead (1977), Paranormal Activity (2007) and the seminal, Night of the Living Dead (1968) are all great examples of low-budget horror films which did incredible numbers at the box office. Which is why if you’re a horror screenwriter or looking to get into creating fear on screen,  A Sense of Dread: Getting Under the Skin of Horror Screenwriting by Neil Marshall Stevens is an invaluable guide to get you started.



Neil Marshall Stevens is a screenwriter and film lecturer with many credits to his name. His book explores the nature of fear and developing the concept of fear within the horror genre. The opening chapters look at the science and biology of what scares us as a species. Are we born with such fears, or do we learn them? After which the writer digs downs into the specifics of what scares people and animals. We are animals after all. This takes in a plethora of phobias, creepy crawlies, urban legends, and things that go bump in the night. Stevens also superbly analyses the many fears prevalent within the real world and our nightmares. The final chapter exercises further cement the theories and concepts with valuable practical advice.

The second half of the book introduces the brilliant idea of the ‘Toolbox of Dread.’  Here Stevens takes some famous horror films and horror conventions and illustrates how filmmakers unnerve and frighten audiences. The ratcheting of suspense, fake tension and the classic jump scare are all explored in depth. These chapters certainly gave me great confidence when I write my next horror screenplay.

Stevens also further develops these ideas in analysing a treatment and scenes from his unproduced screenplay Horrorvision. Not only does this provide an excellent insight into the writing process, but it drills down into how to create tension and dread on the page. Ultimately, Stevens developed Horrorvision in 2000, but it never went into production due to the budget size and being too similar to another project.

I really connected with this book. It gave me a whole new set of approaches and ideas to bring to my next horror projects. It is written in an intelligent and digestible style and gave me a renewed appreciation of the horror film genre. Yes, of course many horror films can be exploitative and often produces some truly terrible movies. However, when directed by the horror experts such as: George A. Romero, James Wan, Ari Aster, John Carpenter, David Cronenberg, Wes Craven, Sam Raimi, and Julie Ducournau, to name a few, horror becomes a powerful and primal expression of the cinematic form.



Buy the book from here.

Publication from MWP.

Michael Wiese Productions (MWP) was launched in San Francisco in 1976 primarily to produce films. Today, the company is known worldwide having published some 200 books. Some of the bestsellers have been translated into 28 languages, are used in over 1000 film courses, in the Hollywood studios and by emerging filmmakers.