Television Review: In the Hands of the Prophets (Star Trek: Deep Space Nine, S1x20, 1993)
In the Hands of the Prophets (S01E20)
Airdate: 20 June 1993
Written by: Robert Hewitt Wolfe
Directed by: David Livingston
Running Time: 46 minutes
Star Trek has historically served as a mirror to the era it inhabited, often tackling the pressing sociopolitical issues of the day with varying degrees of subtlety. While some instalments merely skim the surface of contemporary discourse, others dive deep into the cultural trenches. In the case of the culture wars that defined much of the public discourse in the USA during the last decades of the 20th century, few episodes of the Star Trek franchise offer a more telling example than In the Hands of the Prophets, the season one finale of Star Trek: Deep Space Nine.
The episode begins by establishing seemingly unimportant setting of main conflict: the schoolroom on Deep Space Nine. Keiko O'Brien is conducting a lesson on the wormhole, presenting it as a natural phenomenon—a cosmic shortcut devoid of divine intervention. This scientific perspective clashes violently with the arrival of Vedek Winn (Louise Fletcher), one of the most influential Bajoran religious leaders. Winn represents a faction that views the Celestial Temple as the literal home of the Prophets, not a geological anomaly. Her outrage is palpable; she perceives Keiko's teaching not as a blasphemy and an existential threat to Bajoran identity. When Keiko refuses to yield to her demands, the conflict escalates. What begins as a disagreement over curriculum quickly metastasises into a societal rift on the station. The Bajoran community withdraws their children from the school, organises vigils, and boycotts Federation activities.
Amidst this spiritual crisis, Chief O'Brien is grappling with a distinctly terrestrial problem: the mysterious disappearance of Ensign Aquino, an engineer tasked with maintaining the runabout pads. The investigation takes a grim turn when sludge containing human DNA is identified as Aquino's remains. Further forensic analysis by Dr. Bashir reveals that Aquino was killed with a phaser, with his body subsequently destroyed to obscure the evidence. O'Brien is also distracted by matters of the heart, specifically the advances of his Bajoran assistant, Neela (Robin Christopher). Her attraction to him is obvious, adding a layer of personal complication to his professional duties and creating a subplot that explores the friction between personal desires and professional responsibility.
Commander Sisko attempts to broker peace, turning to Major Kira for assistance. However, Kira, as a devout follower of Bajoran religion, is firmly in Winn's corner and refuses to mediate. The alternative solution is Vedek Bareil Antos (Philip Anglim), a young, popular cleric who is heavily favoured to succeed Kai Opaka. Yet, Bareil refuses to assist, fearing that supporting Sisko would be interpreted as aligning himself with the Federation—a political suicide in the eyes of the Vedek Assembly. This deadlock is shattered when a bomb explodes in the school. The violence forces Bareil to change his mind; he arrives on the station to advertise his emerging authority by advocating peace.
The truth behind the station's turmoil is far more sinister than a simple theological dispute. It is revealed that Neela is in cahoots with Vedek Winn, having orchestrated the entire crisis as a deliberate provocation. The goal was to lure Bareil out of the monastery on the station so that he could be assassinated. Neela had killed Ensign Aquino when he caught her tampering with the security protocols necessary for her escape after the assassination. Despite being locked down and certain of being caught, she proceeds with the plan. However, she is thwarted in the final moments by Sisko. She is apprehended, yet she denies any connection to Winn. Winn, not having achieved her political objectives, departs the station, leaving Bareil poised for victory in the upcoming election.
The script, written by Robert Hewitt Wolfe, one of the franchise's most prolific authors, is clearly inspired by the real-world debates surrounding the teaching of evolution versus creationism in American public schools. The producers, continuing the secular humanist tradition established by Gene Roddenberry, inevitably take the side of scientific rationalism. Yet, the script is nuanced enough to allow Benjamin Sisko to acknowledge that religion holds a valid place in 24th-century society. It does not dismiss faith, but rather contextualises it within a complex cultural landscape where science and spirituality can coexist, even if they frequently clash.
The episode serves as a sequel of sorts to the series premiere, offering another deep dive into Bajoran culture. It adopts a cynical, realistic view of how religion is inextricably woven with political power. Vedek Winn is not depicted as a caricature of fanaticism; rather, she is a shrewd political operator who is not above assassination or the sacrifice of her followers, including Neela. Even Bareil, portrayed as the progressive alternative, is shown to be bound by the ruthless calculations of political survival. The episode effectively dismantles the romanticised notion of religious leaders, presenting them as figures who must navigate a treacherous landscape of power and influence.
The murder mystery subplot is effectively integrated into the narrative. Neela uses her sex appeal to distract O'Brien, creating genuine suspense regarding his marital fidelity. However, the script avoids unnecessary red herrings. Her true allegiance and intentions are revealed relatively early, which keeps the pacing brisk and the narrative straightforward. It works because it trusts the audience to connect the dots without being spoon-fed convoluted distractions, allowing the tension to build naturally rather than artificially.
Despite its strengths, the episode suffers from one glaring flaw: the assassination scene is depicted in slow motion. This stylistic choice feels like a cliché and detracts from the otherwise gritty tone of the episode, resulting in a moment that feels more like a low-budget action movie than a serious science fiction drama. It is a rare misstep in an otherwise tightly written script.
In the Hands of the Prophets is somewhat unusual for Star Trek because it does not function as a traditional cliffhanger, a style that was a staple of The Next Generation. This was partly due to budgetary constraints, though it arguably benefits the episode as a standalone character study. The season finale introduces two key recurring characters who would play pivotal roles in the seasons to come: Vedek Winn and Vedek Bareil. Louis Fletcher delivers a stellar performance, cleverly utilising the menacing persona she crafted as Nurse Ratched in One Flew Over the Cuckoo's Nest to imbue Winn with a palpable sense of danger. Philip Anglim, better known for his work in theatre, provides a solid, if somewhat understated, counterpoint as Bareil.
Ultimately, In the Hands of the Prophets is a very good episode. It proved that Deep Space Nine had a promising future ahead of it, offering a narrative that was richer, darker, and more culturally specific than its predecessor.
RATING: 7/10 (+++)
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