Episode Guide/Review by Christopher Jones
Season 6, Episode 13
Stardate Unknown (2374) and September 1953
Episode 136 of 173 Released in Deep Space Nine
Episode 135 of 173 Released in Deep Space Nine
Production Number: 40510-538
Original airdate: February 11, 1998
Directed by Avery Brooks
Story by Marc Scott Zicree
Teleplay by Ira Steven Behr & Hans Beimler
Synopsis
Frustrated by continued losses in the Dominion War, Captain Sisko has doubts about his place in Starfleet. Perhaps brought on by the stress, he blacks out and finds himself in 1953 New York working as an SF writer named Benny Russell. Though his writing is published, he must conceal the fact that he is black. When inspired by a sketch to write a story about a space station, he begins to clearly see the world of Deep Space Nine and pens a story about the station run by a black captain. He populates the story with characters based on his fellow writers at the magazine, who resemble in human form the characters we know and love from DS9. When the magazine refuses to publish the story as long as the captain is black, Russell enters into a struggle of integrity and frustration as he fights for his rights as a person, rights that should be the same for all regardless of skin color. He makes concessions but still finds himself being denied in the end, resulting in a breakdown. He ultimately wakes up in the infirmary, told by Bashir that he was unconcious for only a few minutes.
Social Commentary
Star Trek has always been a voice for commentary on the state of our society. In its original form Gene Roddenberry filled the bridge of his starship with a collection of diverse people—an African American woman, a Russian, an Asian, an alien—all working together at a time when the world was not ready for such a concept. Neverthless, he marched forward. Though the show failed early on, it became a symbol for those who would see a more enlightened future for mankind, and ultimately embedded itself in our culture.
Of the Star Trek shows that have come since, perhaps none have taken as bold a step as Deep Space Nine, which put a black captain at the head of a space station. Not just any space station, mind you, but one that, in the Star Trek universe, is considered one of the most important locales in the galaxy. This came at a time when, though “blacks” had been accepted in such leadership roles in the real world, lead roles on television—or some would say any substantial roles—still were few and far between. Fortunately, Rick Berman and Michael Pillar hold no such prejudices and saw fit to bring us the wonderful Avery Brooks in the role of Captain Benjamin Sisko.
This served to put DS9 in perfect position to speak out about the struggle of blacks over the years to gain the respect and opportunities that all people deserve. In 1998, during Black History Month, DS9 aired what is one of the most creative stories in the franchise’s history. “Far Beyond the Stars” brought us the tale of a black SF writer struggling to make it in 1950s America. Fortunate enough to have his work published, Benny Russell (Avery Brooks) was forced to conceal the fact that he was black in order for his stories to be accepted by the public. His white colleagues had no problems with his skin color, but the general public of the day would have never been so understanding, as dialogue from the episode shows…
Having just been told that the publisher wants to run a photo of the writers in the next issue, the female member, Kay (Nana Visitor), is told that she can sleep late that day. Benny chimes in, too:
“I suppose I’m sleeping late that day, too.”
“It’s not personal, Benny, but as far as our readers are concerned Benny Russell is as white as they are. Let’s just keep it
that way,” replies Douglas Pabst (Rene Auberjonois), the magazine’s editor.
“Oh, yes,” cuts in Herbert (Armin Shimerman) sarcastically, “If the world isn’t ready for a woman writer, imagine what would happen if it learned about a negro with a typewriter. Run for the hills! It’s the end of civilization!”
As the story unfolds, Benny begins seeing so clearly a story that he must tell. The story is one of a black man who is captain of a space station—a black man who has not only risen from the disrespect with which those of Benny’s day were treated but has in fact reached the highest point of respect. This world in his mind becomes so real to him that he writes fervently through the night.
When the story is finished, Benny is on a high and takes the piece in to share with his fellow writers and to offer it to Pabst for publication. Everyone praises the work—even Pabst—but Benny is quickly brought back to Earth:
“Douglas, you’re not going to stand there and tell us you don’t like this story,” says Herbert.
“Oh, I like it alright. It’s good. It’s very good. But you know I can’t print it.”
“Why not?” asks Benny.
“Oh, come on Benny! You’re hero’s a negro captain—the head of a space station for Christ’s sake.”
“What’s wrong with that?”
“People won’t accept it. It’s not believable.”
“And men from Mars are?” cuts in Herbert.
Once again, it all comes down to skin color (and to imagine that in this case green is easier to swallow than black). How many times in our history has a great idea been discarded because the person who thought it up was not of the right pigmentation? And how many bad ideas were put in its place because the person who thought them up was? In fact, that’s in effect the option given to Benny in “Far Beyond the Stars.” He is told by Pabst that if he wants the story published—and they all admit it is a fantastic story—that he must make the captain white. Otherwise, he is told, he can “put the story in a drawer for the next 50 years, or however long it takes the human race to become color blind.” White captain: good. Black captain: bad.
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