“I don’t recall exact involvement, the timeline there,” Moore says. (The future Pushing Daisies creator would go on to work on Star Trek: Voyager as well). He would ask, ‘Would Gene approve ?'”ĭespite those concerns, which Moore accepted as valid, he kept developing and pushing for the episode - one that the producers bought from Fuller, his first sale to Star Trek. Rick would get a little leery when you start making the characters look less than ideal, especially after Gene passed away. Not surprisingly, Moore’s efforts to push the character of Kira and her story in this too-dark-for- Trek direction was met with some friction by executive producer Rick Berman. : A terrorist is what? What do they actually do? What were some of the horrible things did?” Like, ‘Oh yeah, I used to be a terrorist.'” It didn’t have any real meaning to it, and I wanted to lean into that a bit. “The idea at that point was Kira had this backstory that she was a terrorist, which was mostly just something she said. “I really wanted to push that one,” Moore recalls. Ironically, it’s the darker themes and tone that fans embraced about the episode that almost led to its demise. 'Star Trek: Strange New Worlds' to Air on CBS This Fall As “Darkness” celebrates its 25th anniversary this week, Moore shares with The Hollywood Reporter how one of Trek’s darkest hours got made. It’s Star Trek‘s disturbing take on Agatha Christie’s And Then There Were None …, a gripping thriller that pits two murderers and war criminals against each other, with each believing they are “heroes” in a story that has none - only casualties. Soon, Kira discovers that the killer is a Cardassian named Prin (Randy Oglesby) and he has a score to settle with her. Kira, now an officer aboard the remote DS9 space station, must find out who is murdering her former friends from her resistance fighter days before she becomes his next victim.
Moore (based on a story and pitch by future Hannibal showrunner Bryan Fuller), “Darkness and the Light” explores the past of former Bajoran terrorist Major Kira (Nana Visitor) by forcing her to confront the consequences of her actions as a terrorist many years ago, when she defended her planet from a Nazi-like occupation waged by the alien race known as the Cardassians. But rarely has it tackled a subject as dark as terrorism, and with such unflinching conviction, as it did with the underrated Deep Space Nine episode “The Darkness and the Light,” which debuted 25 years ago this week.
From racism to eugenics, the Final Frontier has found significant success winding its space-based adventures and action around socially relevant themes. And that's what the show really needed from the start since many episodes did present the unknown and were meant to be more exciting and compelling.Star Trek has spent nearly six decades building science fiction stories on the backs of contemporary issues. Think of the s1-3 theme while putting Eggo into the toaster on Thursday.Ĥ-7's tone made sense for me off the bat given the nature of DS9 being a hub for excitement, intrigue, espionage, and strangeness, and the wars. We should be excited for the unknown, not given the feeling it's another day of making waffles for breakfast again. Still, it feels slow but not in a way that really works.
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You pinned it beautifully re: s1-3 ("being alone", which now has the tone making sense for me.) To me, s1-3 gives an aural description of the show as being regal yet lost and unsure, The sets are obviously the most regal and lush any TV show has ever had (and very worthy for blu-ray with all that detail), and being a hub in the middle of nowhere and to an uncharted part of the galaxy the "unsure" aspect makes sense.
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