Television Review: Sanctuary (Star Trek: Deep Space Nine, S2x10, 1993)
Sanctuary (S02E10)
Airdate: 26 November 1993
Written by: Frederick Rappaport
Directed by: Les Landau
Running Time: 46 minutes
Star Trek has from its very beginning established a tradition of using futuristic settings to deal with contemporary issues, a formula that has defined the franchise's longevity. While some incarnations of the series, particularly The Next Generation in its early years, often approached these themes with a subtle, optimistic gloss, others have delved deeper into the darker complexities of the human condition. Deep Space Nine, due to its limited setting and gritty premise that mirrored the worst aspects of 20th-century Earth politics—including terrorism, occupation, and bureaucratic stagnation—seemed uniquely suited for this task. It was a show that looked like a western set in space, handling conflict with a realism that was often startling. Yet, an attempt to deal with one such issue through obvious allegory in Sanctuary" proved to be one of the less successful pieces of the series.
The episode opens by immediately grounding the audience in the immediate, messy reality of the station. Major Kira Nerys is introduced dealing with the bureaucratic incompetence of the Bajoran Provisional Government, a source of constant friction that grounds the show in political realism. This is juxtaposed with Quark, who finds his bar disrupted by the arrival of Varani (William Schalert). He is an immensely popular and talented musician whose performances captivate the audience to such a degree that he inadvertently drains the station's economy, causing Quark considerable frustration.
The real issues begin with the arrival of a damaged vessel emerging from the wormhole, carrying three men and a woman whose specific humanoid species is native to the Gamma Quadrant. Because they are so distinct, the universal translator requires time to become usable. Once operational, Kira learns that these refugees belong to a race called the Skkreeans. Their leader, a woman named Haneek (Deborah May), explains that her people are fleeing their home world after having been conquered by a race known as the T-Rogorans, who were in turn conquered by the Dominion. She relates a prophecy that a Skkreean would find something called the Eye of the World, which would lead them to their promised new world called Kentanna.
Haneek immediately assumes that the Bajoran wormhole is the Eye of the World. The news of this supposed discovery spreads rapidly, leading hundreds of Skkreans to travel through the wormhole and appear on the station. Initially, this arrival causes curiosity, but it gradually leads to concerns and open hostility, and even violence involving Tumak (Andrew Koenig), Haneek’s belligerent son. However, an even bigger obstacle emerges: Haneek is convinced that Bajor is actually Kentanna, and she insists that the Bajoran government allow her people to be settled. The Bajoran government, which is mired in political chaos and still struggling to recover after decades of Cardassian occupation, refuses. Thankfully, Jadzia Dax discovers Draylor II, a nearby M-class planet that is uninhabited and would serve the Skkreeans' needs perfectly. Despite this logical solution, Haneek is adamant that it must be Bajor. When Tumak impulsively tries to force the issue by stealing a spaceship and attempting to land, he gets accidentally killed during a confrontation with Bajoran interceptors. In the end, Haneek agrees to lead her people to Draylor II, though she claims that Bajor is not Kentanna and remains embittered towards Kira.
Sanctuary, written by Frederick Rappaport and directed by veteran Les Landau, possesses some interesting elements despite its flaws. One of the most intriguing aspects is the design of the Skkreeans, based on unusual, flaky skin that gives them a distinct visual identity. Michael Westmore, Star Trek’s main make-up artist, reportedly found the Skkrean design to be among his favourites. Furthermore, the Skkreeans are intriguing because of their matriarchal society. The episode also features a potentially interesting side plot regarding Jake Sisko dating a dabo girl, though she remains unseen in the episode.
The episode is also notable for its casting, which serves as a lovely piece of fan service. William Schalert is best known for his role as the bureaucrat Nilz Bris in the beloved Trouble with Tribbles episode of The Original Series. Andrew Koenig, who plays the son Tumak, is the real-life son of Walter Koenig, who portrayed Chekhov in The Original Seris. Additionally, Kitty Swink, who plays Bajoran Minister Rozahn, is the real-life wife of Armin Shimmerman, who portrays Quark. These connections add a layer of affection for long-time fans, creating a sense of continuity and warmth within the franchise.
This fan service aside, Sanctuary is actually not that interesting episode. The plot is simplistic and originally tried to preach humanitarian principles and advocate for accepting refugees. This issue, while noble, was perhaps too abstract for the Western world in the triumphant, post-Cold-War years of the early 1990s, though it arguably resonates better today. It could have nevertheless been groundwork for great drama—showing various viewpoints and giving some justification for Bajoran scepticism rooted in genuine fear for their own survival. Matthew Piller tried to bring the script in that direction by deciding to make a more downbeat ending where the Bajorans refuse the refugees, but the writers sabotage this by introducing a last-minute deus ex machina in the form of Draylor II. This unoccupied paradise planet solves the conflict too easily, rendering the political deadlock moot. In the end, the only justification for Haneek’s stubborn stance is religious dogma, which is handled very poorly. Tumak’s death looks like an attempt to add some melodrama in a predictable story, serving little narrative purpose other than to shock the viewer rather than to advance the thematic core.
In the end, looking back at Sanctuary, it is striking how relevant the episode becomes when considering the dramatic events at European and US borders in the past decade or so. The refugee crisis is a living, breathing reality, and the episode’s themes of displacement, national identity, and the burden of the past remain painfully pertinent. However, it is hardly referenced by "trekkies," which is understandable because it is a mediocre and forgettable episode. It attempts to be a serious drama but stumbles over its own clumsy execution, leaving behind little more than a footnote in the vast history of the franchise.
RATING: 4/10 (+)
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