V nz fbbbbb ybbxvat sbejneq gb jngpuvat crbcyr jngpu Qnzne'f nep sbe gur svefg gvzr. V erzrzore rirelguvat V sryg jura V qvqa'g xabj jung jnf pbzvat arkg. Vg'f tbvat gb or sha frrvat vg guebhtu arj rlrf ntnva.

Waltz can also be seen as something of a counterpoint to the first season episode Duet. In that one, we see a Cardassian who was low level, nobody who was filled with distress and guilt over the occupation trying to find some way to make amends or move Cardassia to a position of taking responsibility and moving forward. In Waltz, we see the other side: a man (Dukat) directly responsible for oppression and abuse on Bajor looking to excuse, minimize or otherwise deny any responsibility for his role.

Combine that with everything that Dukat said to Weyoun in "Favor the Bold" about being an occupier and you know everything you need to know about Dukat's character. Giles made a comment to Buffy once: "there are two types of monster. The first can be redeemed. Or more importantly, wants to be redeemed. The second is void of humanity, cannot respond to reason... or love." If there were any doubts before, I think it becomes clear that Dukat falls into the second category. Even taking into his account that he cared about Ziyal. I think he genuinely loved her--in the way that he was capable. But it was a smothering, possessive love. Not a love that allowed her to be who she was rather than who he wanted her to be and how she reflected on him.

"Good lord, I am utterly terrified for how this show is gonna deal with the Sisko/Dukat rivalry in the future. I’M NOT READY."

I am confident that you are indeed, not ready. Buckle up.

I think perhaps they were trusting the audience to be engaged enough to make the connections themselves regarding the "Bajor must stand alone" connection. Also, the story's not over yet--as events transpire the reason why might become more explicit.

[final season spoilers] Jryy, bar nafjre zvtug or gung gurl unqa'g qrirybcrq gung fgbelyvar lrg.;) Ohg nabgure zvtug or gung va gung nygrerq gvzryvar, Bqb arire yvaxrq jvgu nal bgure Punatryvatf. Vg frrzf yvxr gung qvfrnfr ynl qbeznag hagvy Bqb yvaxrq jvgu gur bgure Punatryvat juvyr gur fgngvba jnf bpphcvrq. Abg yvaxvat jvgu nal Punatryvatf va gur bgure gvzryvar znl or jung xrcg gur qvfrnfr sebz znavsrfgvat.

Nyfb, onfronyy vf n fxvyy fcbeg gung rira ernyyl tvsgrq nguyrgrf gnxr gvzr gb znfgre.

Okay, dug out the Companion. I didn't have it remembered quite right. As a couple of other people mentioned, they wanted to hire an Arab-American actress* for the role, but couldn't find one, "because there are none," points out Siddig. But there's also this about the casting of the parents:

The casting of actor Brian George as Bashir's father actually served to assist Siding's image of his own character. "The mother and father are very different from one another," he says. "She's very clearly ethnic, while he's almost white. That was useful to me, because it muddies the waters of Bashir's heritage a bit more. I like that because I didn't want Bashir to have any particular heritage or cultural identity that he had to live up to. And the chap who played my father did it as a sort of middle-class Londoner, by contemporary standards, that is, and that provided a class difference between the two of them too. It's clear that Bashir had some choices to make in his life, and he took on a very high-class accent that neither of his parents have.

*edited because I originally mistyped woman instead of actress which was stupid. Obviously there are plenty of Arab-American women. It's the actresses that are hard to find.

Plus Nor the Battle to the Strong where by Bashir winds up retrieving a generator? (I think?) from the runabout and returning to the caves with it single-handedly once he and Jake become separated.

I'll try to remember to check my copy of the book when I get home tonight. Just to make sure I'm not making this up. :)

Fadwa El Guindi is such a lovely actress in this episode. I don't mean attractive--though she is that--but just lovely. You could just see the longstanding family dynamic between all three characters and I think it's she who ties it all together in a very natural looking way. You sense that Amsha has a lot of practice in deflecting and heading off conflict between father and son. First in the captain's office when she shuts Richard down when he's ready to expand again on "Julian stories." And in every conversation after, you see subtly and directly mediating between Richard and Julian. It all played as very real and unforced. It's one of my favorite parts of the episode. Nef_E will probably mention it in his notes, but I believe I remember reading in the Deep Space Nine Companion that it was very important/meaningful to Siddig and, I think maybe Brooks too that Julian's parents be cast as people that looked like they would be his parents. Mission accomplished there.

I've always had vague mixed feelings about this episode. The way that it's a sudden departure from most of what we've known about the character up that point and the way that the series then has to deal with that going forward isn't my favorite thing. But it's an excellent episode--one of my favorites--and ultimately I think it works. Sometimes it takes some small, deliberate handwaves, but overall I think they found a way to make it all fit together.

And I love the interviews where you get range people's affection, exasperation, and overall warmth toward Julian. It's endearing.

-Is that fleet of Dominion ships the “locusts” that Sisko saw in The Rapture? But how would Bajor being a part of the Federation have affected this ep’s events? The idea that the plague of locusts might be something even worse than the Dominion fleet is fucking terrifying.

They are the swarm of locusts. As to the other question? No spoilers other than to say that all will be revealed. ;)