“Sanctuary” is solid episode, weaving a subplot about Bajoran culture with a bigger plot about a civilization of refugees who suddenly appear through the wormhole. The overall writing of the episode successfully comments on themes of prejudice, tolerance, hope and despair. And while the pacing may occasionally stumble, and while the final climactic scene is a bit too hokey to be taken completely seriously, the end result is a classic installment of Deep Space Nine.

The episode begins with a wonderfully framed musical performance from Vanari – a Bajoran who is attempting to revive Bajor’s cultural heritage following the Cardassian occupation. Aside from its aesthetics, the scene also establishes Bajor as a wounded, fragile civilization, struggling to regain its sense of self and even self-esteem. It’s a seemingly minor point which later plays a major role in the culmination of the episode’s story.

Following this, we get the first arrival of the Skrreeans – refugees from the Gamma Quadrant who managed to escape servitude when their masters were conquered by the Dominion. The initial sequences feature an impasse due to language – a problem which, it would seem, is far too uncommon in Trek. At any rate, despite a few too many scenes involving the Skrreeans doing something they shouldn’t, the language barrier helps establish the theme of finding common ground between cultures. Eventually the problem is overcome and Sisko and Kira learn that the Skrreeans have three million refugees waiting on the other side of the wormhole.

As it turns out, the Skrreeans believe that Bajor is none other than the long-prophesized “promised land” that was meant to be their home. The Bajorans, however, aren’t exactly thrilled at having three million aliens suddenly move onto their planet. The conflict is very real and plausible. And while the solutions may be emotionally unsatisfying, they certainly are realistic. In the end, the Bajorans reject the Skrreean petition for sanctuary on Bajor.

What’s interesting about the episode is that its own commentary on the subject is left rather vague. The Skrreean leader, Haneek, certainly has a valid point that much of the Bajoran decision was driven by their rather vulnerable self-identity. But Kira’s point about the Skrreeans having a very suitable homeworld to their own is also valid. Haneek’s point might carry a bit more weight, but her fanaticism with respect to Bajor nicely balances the equation.

Along the way, the situation inside DS9 is likewise adept at portraying the various perspective of those suddenly facing a large influx of “different” people. There’s prejudice and tolerance on both sides and the result is a solid texturing of the overall story.

The episode’s most awkward moment, though, is a climactic space battle (which takes place offscreen) between a Bajoran planetary patrol and a Skrreean ship piloted by Haneek’s son, Tumak. The scene blatantly reinforces the xenophobia of the Bajorans and the fanaticism of the Skrreeans. It’s superfluous and to the detriment of the episode.

“Sanctuary” is a classic episode of DS9, demonstrating the ability of the series to present a multi-faceted, richly textured story which takes an honest sincere look at relevant and often controversial issues. Despite a few bumps along the way, the episode’s main strength is its ability to use its characters in plausible ways to explore the episode’s ideas and concepts.

Filed under: Deep Space Nine