This is one of my favorite episodes of the series!
An early scene starts off with Mahler's Symphony No. 1, a digression from the usual background music of Trek, rightly so - as it plays a key role in the unfolding story. We hear an example of "counterpoint": counter-melodies playing against one another. This sets the stage for the rest of the episode.
Voyager is ungraciously inspected by the Devore, a xenophobic race determined to eradicate the presence of telepaths in their territory. As Voyager inevitably needs to travel through their space en route home, they reluctantly submit to inspectors, while the pompous Devore commander, Kashyk, adds insult to injury by blasting Mahler through Voyager's communication system.
Breaking the Prime Directive yet following a moral compass, Voyager harbors fugitive telepaths (as well as their own telepathic crew members) in a suspended transport system. They disappear during each inspection, but cannot do this much longer due to health issues that result.
Following an inspection, Commander Kashyk returns alone and requests asylum from Voyager. He's had a change of heart, as his conscience cannot further handle the totalitarian eradication of telepaths.
Captain Janeway expresses great doubt at first, but her iciness gradually melts towards Kashyk as the two work intimately to find a wormhole where the telepaths can escape. As they try to solve the puzzle of locating the wormhole with Tchaikovsky playing in the background, the counterpoint of the music leads them to find the solution.
As the episode later reveals, Captain Janeway and Commander Kashyk are counterpoints themselves, two leaders who play against each other - not through phasers but through wits. Their tension occurs on multiple levels: sexuality, trust, and power. In the end, Kashyk is revealed to be untrustworthy after all, so they are destined to remain rival counterpoints. However, Janeway prevails in typical form: open-hearted yet cunning, and unafraid to bite with her humor.
As her victory is revealed, she has the computer play Mahler's Symphony No. 1, the same piece that Kashyk used at the beginning of the episode to display his power. Embarrassed and angry, yet with hints of softness and play, Kashyk lets the ship go and gives her the victory, saying, "Well played, Captain."
In a series filled with blasts and boobs that are larger than life, I appreciate this more subtle battle, with captains that mix enmity with intimacy and play. The music is used in a novel way and serves as a wonderful metaphor too.
The untrustworthiness of Kashyk also reflects upon the sadness of Devore culture. Unable to trust or be trusted, they see harmless telepaths as mortal enemies. The moments of Kashyk's humanity that peak through his manipulation and bombastic voice (PRAX!) give me a soft spot for the enemy. This is another nice touch to an overall enjoyable episode!
An early scene starts off with Mahler's Symphony No. 1, a digression from the usual background music of Trek, rightly so - as it plays a key role in the unfolding story. We hear an example of "counterpoint": counter-melodies playing against one another. This sets the stage for the rest of the episode.
Voyager is ungraciously inspected by the Devore, a xenophobic race determined to eradicate the presence of telepaths in their territory. As Voyager inevitably needs to travel through their space en route home, they reluctantly submit to inspectors, while the pompous Devore commander, Kashyk, adds insult to injury by blasting Mahler through Voyager's communication system.
Breaking the Prime Directive yet following a moral compass, Voyager harbors fugitive telepaths (as well as their own telepathic crew members) in a suspended transport system. They disappear during each inspection, but cannot do this much longer due to health issues that result.
Following an inspection, Commander Kashyk returns alone and requests asylum from Voyager. He's had a change of heart, as his conscience cannot further handle the totalitarian eradication of telepaths.
Captain Janeway expresses great doubt at first, but her iciness gradually melts towards Kashyk as the two work intimately to find a wormhole where the telepaths can escape. As they try to solve the puzzle of locating the wormhole with Tchaikovsky playing in the background, the counterpoint of the music leads them to find the solution.
As the episode later reveals, Captain Janeway and Commander Kashyk are counterpoints themselves, two leaders who play against each other - not through phasers but through wits. Their tension occurs on multiple levels: sexuality, trust, and power. In the end, Kashyk is revealed to be untrustworthy after all, so they are destined to remain rival counterpoints. However, Janeway prevails in typical form: open-hearted yet cunning, and unafraid to bite with her humor.
As her victory is revealed, she has the computer play Mahler's Symphony No. 1, the same piece that Kashyk used at the beginning of the episode to display his power. Embarrassed and angry, yet with hints of softness and play, Kashyk lets the ship go and gives her the victory, saying, "Well played, Captain."
In a series filled with blasts and boobs that are larger than life, I appreciate this more subtle battle, with captains that mix enmity with intimacy and play. The music is used in a novel way and serves as a wonderful metaphor too.
The untrustworthiness of Kashyk also reflects upon the sadness of Devore culture. Unable to trust or be trusted, they see harmless telepaths as mortal enemies. The moments of Kashyk's humanity that peak through his manipulation and bombastic voice (PRAX!) give me a soft spot for the enemy. This is another nice touch to an overall enjoyable episode!