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Re-Doing DS9?

Shaka Zulu has a good point regarding World War II in space. So far as Trek is concerned, that should be given a rest. Wait till Trek's hundredth anniversary before trying that again.
 
Shaka Zulu has a good point regarding World War II in space. So far as Trek is concerned, that should be given a rest. Wait till Trek's hundredth anniversary before trying that again.

Indeed. "Patterns of Force," the Xindi season, the Dominion War . . . time for some peacetime activity.

I always wondered why we didn't see more internal conflict from the Female Founder at the season finale. What happened to holding off and taking the long view?
 
So far as aliens are concerned, Odo and Quark were not only interesting characters in their own right, but their relationship with each other was interesting! :bolian:
 
So far as aliens are concerned, Odo and Quark were not only interesting characters in their own right, but their relationship with each other was interesting! :bolian:

Indeed. Their now-you-see-it, now-you-don't antagonism makes for interesting and amusing exchanges.
 
Great series, the writers just need to add more exciting and interesting stuff to it. I would love to see the inside of a Dominion battleship and more scenes inside the Dominion battle cruiser. Now with the bigger Dominion ships is there only one Vorta to command it? I would think they would have more Vorta on board those ships in certain sections of it. How did the Changelings create such a vast empire in the Gamma Quadrant when they are mostly in the Great Link? It not like they on the Battleships giving out orders and wearing the eye piece.
 
How did the Changelings create such a vast empire in the Gamma Quadrant when they are mostly in the Great Link? It not like they on the Battleships giving out orders and wearing the eye piece.

No. It's clear that they outsourced war, using the Vorta and Jem'Hadar as their mercenaries. That's the how. What I have to wonder is why they would see the need to do so in the first place. Being joined with the Great Link is consistently portrayed as the ideal state for Changelings; why jeopardize the harmony of it with intergalactic machinations?
 
How did the Changelings create such a vast empire in the Gamma Quadrant when they are mostly in the Great Link? It not like they on the Battleships giving out orders and wearing the eye piece.

No. It's clear that they outsourced war, using the Vorta and Jem'Hadar as their mercenaries. That's the how. What I have to wonder is why they would see the need to do so in the first place. Being joined with the Great Link is consistently portrayed as the ideal state for Changelings; why jeopardize the harmony of it with intergalactic machinations?

I don't know if I would go as far to call the Vorta and the Jem'Hadar mercenaries. They're too loyal to be mercenaries. We know in the past and present mercenaries get paid to fight someone else's war and leave when the battle or war is over.
 
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Yes, mercenaries are on whichever side pays them the best, end of story. I'm not sure vorta or jem'hadar actually get paid.
 
Yes, mercenaries are on whichever side pays them the best, end of story. I'm not sure vorta or jem'hadar actually get paid.
They're not really mercenaries. There more like child soldiers, not necessarily acting according to their will but nonetheless, they are essential parts of an oppressive engine. They are incorporated by force, given a privileged position in the administration of power that is incredibly seductive, but they also labor under the notion that they are easily replaced.
 
Yes, mercenaries are on whichever side pays them the best, end of story. I'm not sure vorta or jem'hadar actually get paid.
They're not really mercenaries. There more like child soldiers, not necessarily acting according to their will but nonetheless, they are essential parts of an oppressive engine. They are incorporated by force, given a privileged position in the administration of power that is incredibly seductive, but they also labor under the notion that they are easily replaced.

I guess we can say they are trusted solids created by the Founders to do their bidding. I was surprise how they rely heavily on the Vorta and the Jem'Hadar to a point we didn't see them do much of anything except for sabotage. They had the Vorta doing research to find a cure for their disease and not one of their own.
 
There isn't a lot I'd change. Maybe make the Dominion into the anti-Federation with lots of different members like it was at one time conceived. Get rid of Zek or else use him rarely and never make him personally involved with Quark's family.

Take the Emissary storyline in a different direction as opposed to just making up a Prophet Satan.
 
First, I would have cast someone to be a recurring political figure for Bajor from the beginning, someone who could have the same stature of Louis Fletcher and Marc Aliamo. Frank Langella's Minister Jaro was awesome, and it could have been brought back had he not been so thoroughly disgraced in the Circle trilogy.

Said character would have to be somebody interesting that people new to Star Trek (and those who are already fans) would want to see. Many people didn't like the focus on Bajor to begin with, and doing this might be hard to justify for a production team and show-runner.

Second, I would cast one or two people as recurring Bajoran security officers for Odo's staff. It adds more complexity to stories when we see these men acting independently of Starfleet.

Again, other than Kira, it might be hard to show any other Bajoran as a semi-regular, or to get people to care for them.

Third, fewer Trill episodes, more Dax episodes. Too many of those stories, like "Dax, "Invasive Procedures," and "Equilibrium" focused too much on playing with the complexities of being joined without defining the character itself. As I've written elsewhere, Farrell's acting chops are weak. Nonetheless, many of these episodes don't give her much to do other than react. Rejoined was more successful because it showed Jadzia evaluating her experiences and making decisions. More focus should have been on how she lived rather than what she is. It would also have been nice if the character had an episode on par with Bashir's The Quickening.

There are a lot of fans (and staff) that liked Dax and the idea of a young woman with a lot of experience due to a worm in her belly. Was the actress not that good? Yes, but one can always get a better actress, and one can always write better stories for said character.

Fourth, when Dax dies, Dax dies all the way. There should have been no way of saving the symbiont. After six years of the character as being a continuity, it should come to a dramatic end. No coming back in the next season as a woman or man (although I would still put forward my Odo idea, which might satisfy everyone).

I'm sorry, but there seems to be (to me) no real basis for wanting this other than you don't like the character and the actress. The idea of the character was a great one for science fiction and for TV; yes, it could have been executed better but I don't think that killing off Dax and the symbiont completely is it either.

Fifth, the Prophets did not interfere in Sisko's conception. That cheapened the pilot episode. Everything else about Sisko's deification sits OK with me. Instead, there should be other ways that Sisko realizes that the Prophets are manipulating him.

How were the writers and producers going to make out having a human man willingly give himself up to alien beings and what they though of him? And what's wrong with having a human man be part alien?

Sixth, the character who dies at the end of Sacrifice of Angels should be Rom. His character was developing heroic attributes and showed how much he was willing to sacrifice. Garak's pain over the death of Ziyal is interesting, but we would have gotten more out of seeing Nog and Quark's mourning.

Rom had an arc as a seemingly inconsequential person in his society that eventually became head of that society; all that Ziyal had, to be frank, was that she was a young girl wanted (and loved) by one older man who saw her as the daughter he never had, while rejected by another man (her actual father) as being the bastard he didn't want to be reminded of (but eventually came to love) and who is then killed by his underling. That doesn't sound amazing to me to keep, and I don't think that it sounded amazing to the writers either. I think that the writers found a path for her that was the only good one for that character, much like what the characters on Babylon 5 had as far as life paths were concerned.
 
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First, I would have cast someone to be a recurring political figure for Bajor from the beginning, someone who could have the same stature of Louis Fletcher and Marc Aliamo. Frank Langella's Minister Jaro was awesome, and it could have been brought back had he not been so thoroughly disgraced in the Circle trilogy.

Said character would have to be somebody interesting that people new to Star Trek (and those who are already fans) would want to see. Many people didn't like the focus on Bajor to begin with, and doing this might be hard to justify for a production team and show-runner.

I'm curious--why did many people not like the focus on Bajor? I seem to be in the minority in this respect, as I enjoyed both the explicit emphasis on spirituality and the implicit emphasis on art. The opening frame for most of the scenes set on Bajor always struck me as an idyllic landscape with a hint of Russian influence in the golden domes. Moreover, the costumes for vedeks and kais struck me as medieval in origin given their bright colors and (in Kai Winn's case) distinctive headgear and sumptuous fabrics; I was reminded of illuminated manuscripts. I found Bajor's refined aesthetic refreshing and its politics interesting, and I'm wondering whether others here would agree with me.
 
^ I too loved the focus on Bajor. It really helped set DS9 apart from everything else, as it was a constant that they had to deal with as the planet recovered. I wish they'd had a few more stories in the early years about actually helping with the conditions on the planet--a Bashir story about dealing with an outbreak, or an O'Brien one where he is helping rebuild/repair a key piece of hardware.
 
^ I too loved the focus on Bajor. It really helped set DS9 apart from everything else, as it was a constant that they had to deal with as the planet recovered. I wish they'd had a few more stories in the early years about actually helping with the conditions on the planet--a Bashir story about dealing with an outbreak, or an O'Brien one where he is helping rebuild/repair a key piece of hardware.

They could have moved "The Quickening" to Bajor. Interesting . . .
 
I'd be happy to respond once you have offered your own creative ideas to this speculative thread that would put DS9 into the present day.

First, I would have cast someone to be a recurring political figure for Bajor from the beginning, someone who could have the same stature of Louis Fletcher and Marc Aliamo. Frank Langella's Minister Jaro was awesome, and it could have been brought back had he not been so thoroughly disgraced in the Circle trilogy.

Said character would have to be somebody interesting that people new to Star Trek (and those who are already fans) would want to see. Many people didn't like the focus on Bajor to begin with, and doing this might be hard to justify for a production team and show-runner.

Second, I would cast one or two people as recurring Bajoran security officers for Odo's staff. It adds more complexity to stories when we see these men acting independently of Starfleet.
Again, other than Kira, it might be hard to show any other Bajoran as a semi-regular, or to get people to care for them.



There are a lot of fans (and staff) that liked Dax and the idea of a young woman with a lot of experience due to a worm in her belly. Was the actress not that good? Yes, but one can always get a better actress, and one can always write better stories for said character.



I'm sorry, but there seems to be (to me) no real basis for wanting this other than you don't like the character and the actress. The idea of the character was a great one for science fiction and for TV; yes, it could have been executed better but I don't think that killing off Dax and the symbiont completely is it either.

Fifth, the Prophets did not interfere in Sisko's conception. That cheapened the pilot episode. Everything else about Sisko's deification sits ok with me. Instead, there should be other ways that Sisko realizes that the Prophets are manipulating him.
How were the writers and producers going to make out having a human man willingly give himself up to alien beings and what they though of him And what's wrong with having a human man be part alien?

Sixth, the character who dies at the end of Sacrifice of Angels should be Rom. His character was developing heroic attributes and showed how much he was willing to sacrifice. Garak's pain over the death of Ziyal is interesting, but we would have gotten more out of seeing Nog and Quark's mourning.
Rom had an arc as a seemingly inconsequential person in his society that eventually became head of that society; all that Ziyal had, to be frank, was that she was a young girl wanted (and loved) by one older man who saw her as the daughter he never had, while rejected by another man (her actual father) as being the bastard he didn't want to be reminded of (but eventually came to love) and who is then killed by his underling. That doesn't sound amazing to me to keep, and I don't think that it sounded amazing to the writers either. I think that the writers found a path for her that was the only good one for that character, much like what the characters on Babylon 5 had as far as life paths were concerned.
 
I'd like to have seen more of Odo's policework. It would have been interesting for him to have something to hold over Kai Winn.
 
I'm curious--why did many people not like the focus on Bajor? I seem to be in the minority in this respect, as I enjoyed both the explicit emphasis on spirituality and the implicit emphasis on art. The opening frame for most of the scenes set on Bajor always struck me as an idyllic landscape with a hint of Russian influence in the golden domes. Moreover, the costumes for vedeks and kais struck me as medieval in origin given their bright colors and (in Kai Winn's case) distinctive headgear and sumptuous fabrics; I was reminded of illuminated manuscripts. I found Bajor's refined aesthetic refreshing and its politics interesting, and I'm wondering whether others here would agree with me.
First, there were those who complained about "boldly staying:" they would never be satisfied anyway.

Second, I think too many people were alarmed by Kira's intensity. I believe Nana Visitor has said that people initially referred to Kira (as well as Visitor herself) as a b----.

Third, and I think most importantly, there were few stable Bajoran characters. Opaka was incredibly sympathetic, and fans were upset when she was killed off in her second appearance. Neela received some development before she was revealed to be a terrorist. And Li, although not as dynamic, also generated some excitement, only to be killed in three episodes. Outside of Kira and Winn, we never get a clear group of characters with whom Bajoran politics and society could be defined.
 
I'm curious--why did many people not like the focus on Bajor? I seem to be in the minority in this respect, as I enjoyed both the explicit emphasis on spirituality and the implicit emphasis on art. The opening frame for most of the scenes set on Bajor always struck me as an idyllic landscape with a hint of Russian influence in the golden domes. Moreover, the costumes for vedeks and kais struck me as medieval in origin given their bright colors and (in Kai Winn's case) distinctive headgear and sumptuous fabrics; I was reminded of illuminated manuscripts. I found Bajor's refined aesthetic refreshing and its politics interesting, and I'm wondering whether others here would agree with me.
First, there were those who complained about "boldly staying:" they would never be satisfied anyway.

Second, I think too many people were alarmed by Kira's intensity. I believe Nana Visitor has said that people initially referred to Kira (as well as Visitor herself) as a b----.

Third, and I think most importantly, there were few stable Bajoran characters. Opaka was incredibly sympathetic, and fans were upset when she was killed off in her second appearance. Neela received some development before she was revealed to be a terrorist. And Li, although not as dynamic, also generated some excitement, only to be killed in three episodes. Outside of Kira and Winn, we never get a clear group of characters with whom Bajoran politics and society could be defined.

Fair points all. Vedek Bareil fits into this latter group, too.

I'd very much like to have seen Neela have a longer character arc. And Kira did seem to me to be following the stereotypical path of overcompensation by a strong woman.
 
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