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By Drewsch
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I have been finishing re -watching from Star Trek: Deep Space Nine So I can cancel my paramount+subscription. In the final season of the show, the episode “Badda-Bing, Badda-Bang” takes advantage of Vic Fontaine’s holographic character and his 1960s Vegas World simulation to tell the story of Heist Casino and La the original Eleven ocean from 1960.
It is a fun episode that gives the main ensemble a chance to shine, but Deep space nine Always had something deeper on his mind, even with his flying chapters like “Badda-Bing, Badda-Bang” or another season 7 standout, “take me out to the Holosuite”. While he does everything he can to have fun with the Eleven ocean Riff, he also uses the episode and character of Captain Benjamin Sisko to tackle real -world issue that matters: Fantasy power to regain history of hate.
Vic Fontaine’s Vegas
In the world Deep space nineVic Fontaine Lounge is a Holosuite program that everyone loves to visit. Vic and his program are especially for a number of story reasons, but what is important for this discussion is the fact that it represents where everyone at the station likes to come to enjoy it.
All except Captain Benjamin Sisko. If we were to make a comparison with Star Trek: Next GenerationSisko’s relationship with Holosuite Vic fantasy is similar to Picard’s position on the Community Poker Games hosted by the Commander William Riker. They are both crew activities but the captain engages them. For a picard, it’s a personal distance gap it needs to close. But for Sisko, his feelings about Vic’s are much more just and powerful.
Sisko’s romantic partner and ultimate wife, Kasidy Yates, face him about why he doesn’t like to go to Vic’s. Sisko’s response is because it is a picture of a lifetime and place in history where black people were not treated as equal citizens. As Sisko says, unless they were performers or service staff, Black people were not a welcome site as customers in Las Vegas in the 1960s. It is a prominent and effective reminder of Sisko’s strong moral center in relation to his heritage, but in Kasidy Yates the show makes a lovely counter -argument.
Take history back with fantasy
Kasidy is not sensitive to Sisko’s feelings about a real 1960s Las Vegas, but she directly highlights that Vic’s world is not real. Her strongest point comes in saying that Vic’s is a representation of what that world could have been if racial inequality was not a problem.
Is that kind of view naive ideal? I would therefore hope to consider the exact nature Trek Star as a creative concept. More importantly, Kasidy is trying to show Sisko that fantasy can be the ultimate weapon against the terribleness of history. By being able to play in a fantasy version of history, Sisko and Kasidy regain a lifetime of prejudice and hatred of themselves.
It reminds me of the climatic moments of Quentin Tarantino’s Inglourious BASTERDSWhere Adolf Hitler is deliciously reminded on screen for audience catharsis. A ruined warning: That’s not really happened. However, depicting that particular fantasy allows restoration of history through a fictional narrative. We get the ecstatic, venous victory that reality has been denied to us.
The same goes for “Badda-Bing, Badda-bang” in his effort to show that black audiences (and any peripheral group) should be allowed to play out whatever fantasies they want regardless of historical accuracy. Denying the authenticity of those types of stories is another form of social prevention and human censorship. Historical accuracy is important in discussing and exploring actual history. But if all you do is use a historical time period to tell a fictional story, don’t let idiots say you can’t do anything you want with your imagination.
