The Forsaken (S01E17)
Airdate: 23 May 1993
Written by: Don Carlos Dunaway & Matthew Piller
Directed by: Les Landau
Running Time: 46 minutes
Following the departure of Wesley Crusher from Star Trek: The Next Generation, the landscape of the franchise shifted significantly. This transition inadvertently thrust Deanna Troi’s mother, Lwaxanna Troi, into the spotlight as one of the most divisive figures in the Star Trek universe. To many fans, her recurring presence was viewed less as a contribution to the narrative and more as a cheap attempt at comic relief. Her character often felt tonally at odds with what should be a grand science fiction epic, occasionally reducing the stakes of the universe to the level of a lame sitcom. Yet, this perspective overlooks a crucial potential: when placed in the capable hands of a skilled writer, Lwaxanna Troi possesses the depth to significantly benefit a series. This is proven by the Season 1 episode of Deep Space Nine, The Forsaken, in which Lwaxanna is arguably the most compelling element of the entire production.
The narrative begins shortly after Deep Space Nine received a delegation of four Federation ambassadors arriving to personally see and assess the Bajoran wormhole. The trio of guests is comprised of the Bolian ambassador Vadosia (Jack Shearer); the Vulcan ambassador Lojal (Michael Ensign); and the Arbazan ambassador Taxco (Constance Towers). The fourth and final ambassador is Betazed’s own Lwaxanna Troi. The opening scene establishes a charming contrast between the station's high-stakes political situation and her personal life. She is playing dabo in Quark's bar, a moment of levity that showcases her desire to blend in, only to have her valuable brooch stolen by a patron. The thief is quickly apprehended, and the brooch is returned thanks to the efficient action of Constable Odo. This incident immediately captures Lwaxanna's attention and serves as the catalyst for the episode's central relationship.
The presence of these four ambassadors proves to be incredibly taxing on Dr. Julian Bashir, who has been ordered by Commander Sisko to handle their every whim. It is a thankless task that highlights Bashir's dedication but quickly becomes background noise compared to the real crisis unfolding on the station. Deep Space Nine experiences a bigger problem in the form of a probe that arrived through the wormhole from the Gamma Quadrant. While assessing the station's systems, the entity seizes control of the computers, plunging the station into chaos. The solution to this problem is devised by Chief O’Brien, who recognises the nature of the alien entity. Realising that the probe behaves like a child or a pet that requires engagement, O’Brien treats it as such and preoccupies it, metaphorically placing it in a "doghouse" to resolve the crisis.
Before O’Brien finally solves these problems, the entity's mischief manifests in all kinds of annoyances and accidents. For instance, three of the ambassadors find themselves trapped in one of the corridors and threatened by fire while the fire suppression systems are offline due to the computer takeover. Dr. Bashir rises to the occasion, acting promptly and finding a causeway where they can hide to escape the blaze, showcasing his capability under pressure.
The computer problems also create a significant physical predicament for Odo. He becomes stuck with Lwaxanna in a turbolift. He finds the experience annoying and torturous, but gradually begins to open up to Lwaxanna, sharing details about his background that he rarely discusses with others. As the turbolift ride drags on, he is unable to leave to regenerate, and as his regeneration cycle approaches, he begins to lose his shape, turning into a puddle of protoplasm. In a moment of genuine tenderness, Lwaxanna proves to be understanding. She removes her wig—a visual gag that grounds her humanity—and ultimately volunteers her own dress to serve as a bucket for his liquid state. This sequence is bolstered by excellent work on the make-up and CGI effects, which portray Odo's transformation with convincing fluidity and detail.
The Forsaken, produced near the end of Season 1 of DS9, was envisioned as a "bottle episode" intended to save budget after many previous episodes had failed to do so. In this constrained setting, the concept of Lwaxanna pursuing Odo at first looks ridiculous, and the "trapped in elevator" trope seems unoriginal. However, the script by Don Carlos Dunaway and Michael Piller elevates these clichés by using them as an opportunity to deliver crucial exposition regarding Odo’s mysterious background. It also establishes a clear link between TNG and DS9, with Lwaxanna describing her experiences as a Ferengi captive in the Menage a Troi episode, even confirming that she had sex with Tog. This specific detail makes her character much more vulnerable, more human, and more sympathetic than she has ever appeared before.
Ultimately, the episode would have worked much better without the routine and uninspired storylines involving the alien entity causing havoc with the station computers or Bashir merely handling ambassadors. These subplots feel like standard filler, distracting from the stronger character work. However, despite these flaws, it remains a solid episode. While The Forsaken may not rank among the Star Trek classics, it serves as a significant indicator that DS9 can utilise certain characters in ways that The Next Generation could not, proving that even its most divisive additions can shine when given the right material.
RATING: 6/10 (+++)
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