Inconceivable! An unlikely Vizzini

Wallace Shawn’s hands would often tremble as he walked onto the set of “The Princess Bride” (1987). It wasn’t the challenge of delivering Vizzini’s complex, fast-paced lines that unsettled him; it was the paralyzing fear that, at any moment, director Rob Reiner would decide he was the wrong choice for the role. This fear wasn’t abstract. Shawn knew he hadn’t been the first choice for the character of the self-proclaimed genius Vizzini. Danny DeVito, a towering name in comedy at the time, had been Reiner’s original pick. While scheduling conflicts had taken DeVito out of the running, Shawn felt like an impostor who had lucked into a role meant for someone else.

Shawn’s anxiety wasn’t baseless in his mind. He viewed DeVito as a giant of comedic timing and larger-than-life energy, someone whose every movement commanded attention. Shawn, by contrast, had built his career on intellectual, understated humor in films like “My Dinner with Andre” (1981). He was intensely self-critical, believing his quieter, more cerebral style was entirely unsuited to Vizzini’s flamboyant, arrogant nature. That fear, that anxiety sat front frow in Wallace’s mind, with every take on set being overshadowed by that nagging thought that his performance lacked the bold confidence the character demanded.

Shawn’s insecurities peaked when filming the now-legendary “Battle of Wits” scene. In this pivotal moment, Vizzini engages Westley (played by Cary Elwes) in a duel of logic over poisoned goblets. The scene, layered with rapid dialogue and comedic absurdity, required Shawn to deliver a near-operatic performance, alternating between smug superiority and flustered frustration. While the crew laughed at his pitch-perfect delivery of “Inconceivable!” and his frantic attempts to outsmart Westley, Shawn remained convinced he wasn’t funny enough. He later revealed that he spent much of the scene preoccupied with thoughts of DeVito in his place, imagining the crowd laughing harder and the scene landing better.

Shawn didn’t realize how his fear shaped his performance in extraordinary ways. Vizzini, after all, is a character who masks deep insecurity with bluster and bravado. Shawn’s real-life unease brought an authenticity to the role that even Reiner hadn’t expected. With its distinct nasal quality, his voice became an instrument of comedic precision, capturing Vizzini’s arrogance and fragility in equal measure. Every exaggerated hand gesture, every strained attempt at sounding confident, carried a subtle vulnerability that elevated the character beyond mere parody.

Co-stars like Cary Elwes and Mandy Patinkin observed Shawn’s anxiety on set but admired his commitment. Elwes later described how Shawn’s internal struggle mirrored the story’s intensity, making his scenes electric. Reiner, meanwhile, never once doubted his casting decision. He saw in Shawn a unique energy that no other actor could replicate. DeVito may have brought a louder, more physical comedy to the role, but Shawn’s version of Vizzini became more layered, a study in the comedy of overcompensation.

Years later, Shawn admitted that his fear of being replaced never left him during filming. But this fear transformed Vizzini into one of the most iconic characters in “The Princess Bride.” The tension between arrogance and self-doubt became the heart of the performance, making Vizzini not just a comedic foil but an unforgettable part of cinematic history.

USS Voyager

The USS Voyager’s mission to the Delta Quadrant was meant to be routine, a mission that would stretch the limits of space exploration and introduce the crew to the mysteries of this new region of space. The starship, an Intrepid-class vessel designed for scientific research, was launched in 2371 with high hopes. Its mission: to boldly go where no Federation ship had gone before, seeking knowledge, peace, and new frontiers. But fate, as it often does, had a different plan.

Barely on its maiden voyage from Deep Space Nine, Voyager, and its crew had no idea they were about to be thrust into a situation none of them could have prepared for. Voyager had no idea they were about to be caught in the grip of a mysterious and powerful force – an energy entity known only as the Caretaker. This incorporeal being, whose intentions were as enigmatic as its form, had a singular goal: to protect the Ocampa, a peaceful race whose survival was in jeopardy. In its attempt to safeguard them, the Caretaker had inadvertently endangered the entire galaxy, tearing a rift in space-time that pulled the Voyager and its crew 70,000 light-years away from home into the unknown expanse of the Delta Quadrant.

The Caretaker, despite its immense power, was dying. It could no longer sustain the Ocampa people on their arid world. The fate of the Caretaker and the Ocampa people had already been sealed, and pulling Voyager across the universe was a last-ditch effort of the Caretaker to ensure the Ocampa survived. The Caretaker gave no care or forethought to the fact that the crew of Voyager had no idea how to survive in this region of space. They were essentially left adrift, badly damaged, and had zero information about their location, the political environment (if any), or why they were there. And worst of all, the crew was utterly cut off from home and could not communicate with The Federation. Any hail would take seventy thousand years to be received. By then, Voyager would not be in the same place, so communication became impossible based on their current technology.

The Federation was now a distant dream, and the safety of the Alpha Quadrant seemed as unreachable as the farthest star. The crew, led by newly promoted Captain Kathryn Janeway in her first command, faced an unimaginable challenge: to survive in a hostile and unknown part of the galaxy and find their way home while continuing their exploration mission. The crew, resilient and determined, had to come to terms quickly that they would never see home in their lifetimes.

However, the vastness of space and the challenges of the Delta Quadrant were not the only obstacles they faced. Along the way, Janeway and her hodgepodge crew encountered a series of threats more dangerous than they could have ever anticipated. Among these was the Borg, the relentless, cybernetic collective whose very presence struck fear into the hearts of every Federation officer. As if stranded in a region of space where the Borg were a constant menace wasn’t enough, Voyager found itself not only in their path but also profoundly entangled with them. The Borg’s terrifying ability to assimilate entire civilizations was a looming danger, but ironically, their technology – a transwarp hub – ultimately provided the key to Voyager’s salvation.

In a twist of fate, the very enemy that posed such a threat to the Voyager’s mission became the instrument of its survival. By seizing control of one of the Borg’s transwarp hubs, Voyager could close the unimaginable distance between the Delta Quadrant and Earth in a single, staggering instant. A journey that should have taken decades was reduced to mere moments, a victory born not out of triumph over the Borg but through their own technology.

Captain Janeway, forever shaped by the harsh lessons of this extended journey, and her crew, who had been tested beyond measure, returned home – not as they had set out, with optimism and certainty, but with a deep understanding of the fragility of life in the universe and the complexity of fate. What started as an accidental detour in space had turned into a profound journey of self-discovery, resilience, and the unshakable belief that, no matter how lost one may seem, the road home might be closer than one thinks.

Captain Montgomery “Scotty” Scott

When you think of Star Trek’s legendary engineer, Montgomery “Scotty” Scott, you might picture him working furiously at a control panel, his face bathed in the dim red glow of the engineering bay, the ship’s fate hanging in the balance. But perhaps one of his most audacious, not to mention creative, acts of repair wasn’t something you’d find in a routine repair log. It was a gamble with time, a wager against fate itself. And it wasn’t in a clean, high-tech starbase; it was in a shuttlecraft, deep in the heart of space, on the verge of a century-long wait.

The year was 2267, and a life-or-death situation aboard the Federation starship Enterprise seized Scotty. During a routine mission, the Enterprise was thrust into an unexpected encounter with the Romulans, causing severe damage to the ship and the crew. The Jenolan, an old Federation starship, was in peril, and its crew was in jeopardy. Scotty knew the ship’s engines could barely hold together, and the distress signal was a faint echo lost among the stars. The crew had to escape.

In a desperate, seemingly impossible attempt to save the ship, Scotty devised a brilliant and ultimately risky solution: he decided to “suspend” himself. Rather than waiting for help the traditional way, with scanners, engines, and predictable systems, Scotty did something few engineers would even dare consider: He stepped into the Jenolan transporter.

But this wasn’t your ordinary matter-energy transport. No, Scotty’s idea was far more unorthodox. Rather than simply transporting himself to safety, he locked his pattern in the transporter’s buffer, not for minutes or hours, but for decades—75 years to be exact. He would exist in a time loop, his pattern cycling endlessly within the machine’s systems. His body would not age, not deteriorate, not experience the ravages of time, yet he would remain conscious, waiting for a rescue that might never come. In essence, Scotty was betting against time itself.

The machines of the 23rd and 24th centuries were as ingenious as they were dangerous. Transporters, designed to be a bridge between places and people, were never meant for such prolonged use. While intended for short-term storage of patterns, transporter systems weren’t designed to hold the consciousness of a living person for nearly a century of continuous use. But Scotty, the brilliant, somewhat eccentric engineer, knew the system well enough to tweak it beyond recognition. He managed to keep his pattern in a state of stasis, existing in the transporter buffer with enough stability to maintain his consciousness without experiencing the slow decay of time. While trapped in the system, his mind was active, thoughts intact, though he was effectively trapped in a time loop, waiting and hoping for rescue.

And that rescue finally came. It took the Enterprise nearly a century to stumble upon the Jenolan, or rather, it took Cmdr La Forge a short time to discover that the transporter systems on the Jenolan still had power. When the Enterprise crew found his presence in the transporter buffer, Scotty had been cycling through the pattern for 75 years. And yet, in that time, he hadn’t lost his sense of self nor his ingenuity. Scotty’s mind had remained sharp despite being physically absent for seven-and-a-half decades. His most incredible creation wasn’t a warp drive or a dilithium coil; it was a time-defying solution, a testament to his remarkable understanding of both the limits and possibilities of technology.

This moment is one of Scotty’s most inventive and daring emergency repairs. It wasn’t just about fixing a broken ship; it was about manipulating time itself, becoming a living testament to what one engineer could do when faced with the ultimate test of survival. The idea of locking oneself in a transporter buffer, knowing that the only way out was a rescue almost a century in the future, is not only brilliant—it’s pure Scotty: resourceful, audacious, and ultimately triumphant in the face of impossible odds.

The story of Miles O’Brien

The story of Miles O’Brien in Star Trek is one of quiet perseverance and understated brilliance. When O’Brian first appears on screen, standing at the transporter console aboard the USS Enterprise-D, he appears to be seen in a role that seems, at first glance, to understate his technical prowess. Many wonder why someone of his skill wasn’t stationed in Main Engineering, working alongside Geordi La Forge. But O’Brien’s journey is a testament to how a career in Starfleet—or any career, for that matter—rarely begins at the top and how unassuming roles can hide profound importance.

Transporter chief isn’t just about “beaming people up.” The position comes with immense responsibility. O’Brien wasn’t merely pressing buttons; he was managing the delicate dance of quantum mechanics that kept crew members alive during transport. A miscalculation could result in tragedy—a fate Star Trek fans know well from transporter mishaps. On the flagship of the Federation, where every officer is expected to excel, being in charge of transporter operations meant ensuring absolute precision. O’Brien’s work had to be flawless, and it often was. Behind the console, he was quietly mastering his craft.

But transporter operations weren’t O’Brien’s only contribution aboard the Enterprise-D. Throughout his time on the ship, he proved repeatedly that his engineering expertise extended far beyond his station. O’Brien’s quick thinking and practical problem-solving approach allows him to play a critical role in saving the day. In critical episodes, such as when the ship faced technical crises, O’Brien’s quick thinking and deep knowledge of starship systems saved lives. Though his title was “transporter chief,” he was more than that. This duality of roles—official and de facto—laid the groundwork for his career’s defining characteristics: adaptability and quiet competence. But there are also other moments where you learn that Chief O’Brien is also a deeply flawed man who struggles with honor and duty, as well as a deep-seated hatred that borders on outright racism for Cardassians.

Once Chief O’Brien transferred to Deep Space Nine and assumed the role of Chief of Operations, his skills as an engineer were finally given the space to shine, and he received the spotlight on his unique problem-solving skills, which he deserved. The station was a hodgepodge of Cardassian and Federation technology, with systems as temperamental as they were essential. It was a chaotic, challenging environment that required someone who could think on their feet and make the impossible happen daily. O’Brien thrived. His ability to bridge his engineering acumen with practical problem-solving made him indispensable to the station’s operations and crew.

Why wasn’t O’Brien in Main Engineering aboard the Enterprise-D? The answer lies in how Starfleet operates. The flagship attracted the best and brightest, but every position, from the bridge to the transporter room, was critical. O’Brien’s skills made him a natural fit to ensure the transporter systems functioned flawlessly, a task no less important than maintaining the warp core. His time at the console also allowed him to build a reputation as a reliable, unflappable engineer—qualities that eventually earned him his promotion to chief of operations on Deep Space Nine.

Or did it? Rumor has it that the Chief was so skilled at using the transporter that he could beam two of Commander Riker’s pips off his collar and onto his own, thus reducing Riker’s rank to Ensign and promoting O’Brian’s from Chief to a full Lieutenant. The Chief kept a collection of pips in one of Keiko’s jewelry boxes on a nightstand by their bed. This shenanigan caused him to be punished and exiled to Deep Space Nine. A punishment that Keiko resented more than Miles. However, it was a punishment Miles wore as a badge of honor, as he could turn this into the shining beacon of his success in his career. As we can see throughout the show, despite Miles’ quiet displeasure with his punishment, he is a Starfleet Officer through and through and a consummate soldier who will do as he ordered despite his feelings on the subject.

O’Brien’s story reminds us that career paths aren’t always linear. Starting in a less glamorous position doesn’t diminish one’s abilities or potential. Instead, it often serves as the foundation for future growth. For O’Brien, the transporter console wasn’t a limitation but a launchpad. His journey from transporter chief to the heart and soul of Deep Space Nine is an inspiring narrative about quiet excellence, hard work, and the importance of being ready when opportunity comes knocking.

Ren – Money Game (Parts 1, 2, and 3)

Ren Gill Photo by Samuel Perry Falvey

Money Game (Part 1)

Strange times we’re living in
World can put fear in ya
Hierarchy parties, they make us feel inferior
Greed runs through the parliament interior
Devils walk among us, they fit the criteria

Eerie theories strike fear in weary minded men
When we’re clearly living in dictatorships
Nearly blinded by illusions to choose
But who’s fooling who?
A ball chained to your shoes

I’m pained, it’s a crying shame
The pursuit of our own wealth lights a flame
That makes greed a game that lets the whole world burn
As the world turns, the whole world burns

Money was invented for trade
But now those bits of paper twist hearts, make slaves
Turns a saint into a sinner, a child into a killer
His finger on the trigger of a money game

Oh, rain, rain, rain, rain
A storm, it comes our way
And those who rise through distorted lies
Poison in the veins
But we like to point the blame, blame, blame, blame
It’s easier to blame
But point the mirror at ourselves
We’re all part of this old money game

This old money game

This old

Dear Mr. President, it’s evident that everyone’s a resident
Of fear when they support the ideas that keep us separate
When they make us believe that everybody
Is coming to terrorise you in the streets
They say proudly through gritted teeth
“It’s my right to hate, that’s freedom of speech!”

When did freedom become a reason to hate?
A way to justify a racial slur or insult we make
There’s an irony in freedom, because us in the west
We have pillaged and plundered and murdered like savages
Colonised all of the rest, that’s called hypocrisy
Preach a certain value that you’d never keep yourselves
If your country was in flames, you’d emigrate yourselves in a second

Still, you spit your venom, demonising immigrants
When really, you’re an immigrant
‘Cause all of us are immigrants
Or descended from immigrants
The irony is imminent, I’ll shed the light on immigrants

America was colonised by Britain
Britain, it was colonised by Rome
Also, colonised by the Saxons
They were German, by the way
You know how people throw shade upon the Germans
‘Cause of history’s pain

And yet we make the same mistakes all again
Demonise a whole people, Jewish or Muslim the same and the same
Old situations play on repeat
The same old TV shows repeat
Yeah, we worship the bleak
Our opinions aren’t our own and we follow like sheep
There’s no left, there’s no right
In the middle we sleep

Rain, rain, rain, rain
A storm, it comes our way
And those who rise through distorted lies
Poison in the veins
But we like to point the blame, blame, blame, blame
It’s easier to blame
But point the mirror at ourselves
We’re all part of this old money game

This old money game

This old money game

Money Game (Part 2)

Strange times we’re living in, panic and hysteria
Poor man learn the rich man don’t care for ya
Narcissist mindsets spread like malaria
Sit back and watch the show, America!
Britain split through fickle shit
A government of hypocrites
These counterfeit politicians sit
In parliament, not adequate
Needlessly bleeding resources all dry
Turn a blind eye if it means a pay rise
“Oh what a shame it would be I would die”
If Number 10 Downing Street burned in a fire
Only joking, only messing, don’t be stressing
I’m a peaceful adolescent, there’s no need to be unpleasant Write my thesis in a rhyme scheme
To analyze the brain
While my fingers on the trigger of a money game

Oh Ren, Ren, Ren, Ren
A storm, it comes our way
And those who rise through distorted lies
Poisoning the veins
But we like to point the blame, blame, blame, blame
It’s easier to blame
But point the mirror at ourselves
We’re all part of this old money game
(This old money game)
(This old)

Money is a game and the ladder we climb
Turns a saint into a sinner with his finger in crime
I’ll break it down for you motherfuckers line by line
This is business economics in a nursery rhyme

She sells seashells on a seashore
But the value of these shells will fall
Due to the laws of supply and demand
No one wants to buy shells ’cause there’s loads on the sand

Step 1, you must create a sense of scarcity
Shells will sell much better if the people think they’re rare, you see
Bare with me, take as many shells as you can find and hide ’em on an island stockpile ’em high
until they’re rarer than a diamond

Step 2, you gotta make the people think that they want ’em
Really want ’em, really fuckin want ’em
Hit ’em like Bronson
Influencers, product placement, featured prime time entertainment
If you haven’t got a shell then you’re just a fucking waste man

Three, it’s monopoly, invest inside some property, start a corporation, make a logo, do it properly
“Shells must sell”, that will be your new philosophy
Swallow all your morals they’re a poor man’s quality

Four, expand, expand, expand, clear forest, make land, fresh blood on hand
Five, why just shells? Why limit yourself? She sells seashells, sell oil as well!

Six, guns, sell stocks, sell diamonds, sell rocks, sell water to a fish, sell the time to a clock
Seven, press on the gas, take your foot off the brakes, Run to be the president of the United States

Eight, big smile mate, big wave that’s great Now the truth is overrated, tell lies out the gate

Nine, Polarize the people, controversy is the game
It don’t matter if they hate you if they all say your name

Ten, the world is yours, step out on a stage to a round of applause
You’re a liar, a cheat, a devil, a whore
And you sell seashells on the seashore

Ren, Ren, Ren, Ren
A storm, it comes our way
And those who rise through distorted lies
Poisoning the veins
But we like to point the blame, blame, blame, blame It’s easier to blame
But point the mirror at ourselves
We’re all part of this old money game
(This old money game)
(This old)

Money Game (Part 3)

Let me tell you a story about a boy named Jimmy
One years old and his first words were mine, mine gimme
Two years old, he was walking, three years old, walking quickly
Four years old, he was running around the pavements of his city
Five years old, and his daddy told him, listen here son, you’ve got to learn to be a man
A man he works for what he wants
Six years old, and he’s reading, writing, top of the bunch
And when he’s seven, his progression made him student number one
Eight years old and he’s praised for unusual grades
Nine, his parents pay for private school to nurture the flame
10, 11, 12, 13, he ascends and ascends, his daddy tells him, son, money is the means to all ends
14 solving complex mathematic equations, at 15, IQ 150, still elevating
16 he develops complex software code that detects weaknesses in cyber security protocol

17, and he sells his vision, keeping the share, not yet an adult
But he’s practically a millionaire
18, and his daddy tells him now you’re a man the world don’t give a damn about you
So take all that you can
19, he turns a profit, stocks and shares, invest in product
20, double down deposits 21, his income rockets
22, he learns that truth is just an obstacle to wealth
If you manipulate the data, then the lie will sell itself
23, a life of luxury Crystal and cocaine
24, he makes the Forbes list, they’re applauding his name
25, and his daddy told him, listen here, son, while you’re sitting in the palace
That don’t mean that you won
26, his business shifts, he switches business to arms
He’s 27, dealing nuclear shells in Iran
28, inside the Senate, money bought him a seat
He’s 29, role of counsel in the president suite
And now he’s 30, his daddy says, you’re losing the race
You’re just a servant to the king, not even in second place
31, a big maneuver for his daddy’s approval
Moving imports over borders from the exports out of Cuba
32, moving grams, growing kilo to tons
He’s 33, filling warehouses with powder and guns
34, turf war with nobody to stop it, blind eye from the Po po inside of his pocket

35, he gets a call, I’m sorry, son, but it’s your father, had a heart attack
I’m sorry, he’s gone, 36, getting pissed off abusing this product
37, eyes glazed, disposition demonic
38, with a prostitute, a moment of passion
Heating up the silver spoon and then chasing the dragon
39, getting reckless and hungry for power
Daddy’s words still driving him to kill him and devour
He makes a move against the cartel, but the strategy’s flawed
They retaliate and leave him in the hospital ward
A bullet buried in his vertebra, and one in his leg
The doctor sighs and says, I don’t think you’ll be walking again, fuck

Let me tell you a story about a boy named Jimmy
He was 40 and he cursed the words mine, mine gimme
41, he wasn’t walking, 42, not walking quickly, 43
Never running round the pavements of his city
44 inside a palace with a mountain of gold
But those riches turn to rubble when perspective evolves
Weighing heavy on his conscience is the value of gold, Lamborghini for a life
Trading money for souls, Jimmy followed the code inside the land of the free
Put your hand inside the cookie jar, take more than you need
And his example is exaggerated versions of me, and it’s a version of him
And it’s a version of she, and it’s a version of you
There’s no escaping the blame, the way we live, it’s parasitic
Fuck the money and fame, cut the music

This isn’t entertainment, this is real life, the way we live is lunacy, community it declines
We’re hyperpolarized, we’re always fighting and we divide
Truth is less important than the money that we designed?
Money’s an invention, politics from our invention, they all come from people’s ideas
Did I mention, border’s an invention
Law and order fuels the tension that leads to people killing each other
My solution? Everything is subject to change
We could build utopias if individuals were taught to use their brains
But if we teach kids in schools to always be sheep and put themselves before the herd
If there’s more money for meat
Then there’s no future I see where the humans survive
We’re parasites inside the Petri dish, with cannibal mines
Mold will grow upon the surface, then consumes ’til it dies
And our fate could be the same without this story to the wise
45, Jimmy comes home out of the rain, soaking wet upon a wheelchair
Drinking again, he has everything he wants, he has fortune and fame
Such a fortunate fool with an unfortunate fate with a 45 caliber aimed at his brain
45, a fitting number because his age is the same
Here’s the words of his father, it’s such a damn shame
Then he presses on the trigger of a money game

The Harri

The Harri, known to their enemies as the Germanic Shadow Warriors, emerged from the impenetrable forests of Germany like fierce, elemental spirits of vengeance. The Romans tell us they were not a tribe but an elite cadre of warriors drawn from multiple Germanic tribes that roamed the dense forests of ancient Germania. They were bound together by a shared mastery of guerrilla tactics and psychological warfare, serving as the vanguard of terror in battles against Rome and rival tribes alike.

The Roman historian Tacitus wrote about these warriors with a mixture of awe and dread, describing their tactics as “a tempest of fear and darkness.” He noted their ability to transform the battlefield into a stage of terror: “They appear as shadows, blackened as the night, their presence felt before it is seen.” Cloaked in darkness and smeared with black warpaint, the Harri moved like wraiths through the mist, their war cries breaking the silence with a chilling finality. To a disciplined Roman legion, they were an affront to the order of war—a primal, chaotic force that turned strategy into folly.

“As for the Harii, quite apart from their strength, which exceeds that of the other tribes I have just listed, they pander to their innate savagery by skill and timing: with black shields and painted bodies, they choose dark nights to fight and employing terror and shadow of a ghostly army they cause panic since no enemy can bear a sight so unexpected and hellish; in every battle, the eyes are the first to be conquered.”

Tacitus, Roman historian and politician.

Unlike the Romans, who fought for empire and wealth, the Harri were defenders of something ancient and intangible: their sacred groves, their gods, and the unyielding freedom of their kin. To the Romans, they were barbarians, but their tactics revealed a profound understanding of the human psyche. Pliny the Elder remarked that “their savagery was calculated, their chaos deliberate,” observing how they used fear as a weapon, eroding the discipline of even the most seasoned soldiers. The Harri’s painted faces, gleaming eyes, and howling chants turned the orderly rhythm of Roman warfare into a nightmare. They were warriors forged not in the discipline of the barracks but in the chaos of the wild.

To meet the Harri in battle was not merely to fight an enemy; it was to confront the untamed heart of Germania, a realm where man and forest were one and where survival meant mastering the darkness. I can’t imagine many things more terrifying than confronting a large group of Harri deep in the forests as your Legion is stretched out in a thin line.

There are varying opinions as to the origin of The Harri; according to John Lindow, Andy Orchard, and Rudolf Simek, connections are commonly drawn between the Harii and the einherjar of Norse mythology, those that have died and gone to Valhalla ruled over by the god Odin, preparing for the events of Ragnarök.

Lindow has written that regarding the theorized connection between the Harii and the Einherjar, “many scholars think there may be basis for the myth in an ancient Odin cult, which would be centered on young warriors who entered into an ecstatic relationship with Odin” and that the name Harii has been etymologically connected to the -herjar element of einherjar.

Simek says that since the connection has become widespread, “one tends to interpret these obviously living armies of the dead as religiously motivated bands of warriors, who led to the formation of the concept of the einherjar as well as the Wild Hunt”.

Babylon 5’s Alfred Bester

The name “Alfred Bester” might not immediately ring a bell for some, but his influence runs deep in science fiction. It’s no surprise that when Walter Koenig’s character, the cunning Psi Cop, was introduced in Babylon 5, his name wasn’t just a random choice—it was a tribute, a nod to a literary giant whose work shaped the genre in unexpected ways.

Bester, the celebrated science fiction author, had penned a short story titled The Demolition Man. This story set the stage for an essential concept in the Babylon 5 universe—the telepathic police force. In The Demolition Man, Bester crafted a world where a group of telepathic officers wielded tremendous power, keeping society in check with their extraordinary abilities. The concept of these psychic enforcers would later influence the creation of PsiCorps, an influential and controversial organization in Babylon 5. The PsiCops, like Bester’s telepathic officers, were tasked with maintaining control over telepaths, using their abilities to manipulate and monitor others. The dark, controlling nature of the PsiCorps echoed the themes Bester explored in his writing.

But Bester’s connection to Babylon 5 didn’t stop there. He was an inspiration for the series telepathic organization and a close friend of another well-known figure in the science fiction world—Harlan Ellison. With his reputation for bold ideas and boundary-pushing storytelling, Ellison worked as a conceptual consultant for Babylon 5, bringing his visionary insights to the series. The collaboration between Ellison’s creative mind and the world that Bester had influenced was a perfect storm of intellectual synergy.

Thus, when it came time to name a PsiCorp officer, Bester was almost fated to be chosen. The name was more than just a tribute—it was a recognition of the man’s legacy in shaping Babylon 5 and the genre. The choice encapsulated the intertwining threads of science fiction history, honoring a writer whose influence went beyond just one story or one idea. In Babylon 5, Bester wasn’t just a character; he was a living homage to the literary worlds that came before and the ones that would follow.

Captain Benjamin Sisko

Absolutely. Benjamin Sisko’s actions in Star Trek: Deep Space Nine align strikingly well with the political realism espoused by Machiavelli’s The Prince. He is not merely a Starfleet officer who follows protocol but a leader who understands the weight of responsibility, the murkiness of moral decisions, and the necessity of pragmatic—even ruthless—choices to achieve a greater good. Sisko embodies the qualities of a leader Machiavelli would respect: calculating, adaptable, and willing to prioritize outcomes over ideals when circumstances demand it.

Consider the infamous incident in the episode “In the Pale Moonlight,” where Sisko conspires with Garak, the enigmatic Cardassian tailor, and former intelligence operative, to bring the Romulans into the war against the Dominion. The stakes are impossibly high. If the Dominion prevails, the Alpha and Beta Quadrants as they know it will be obliterated. And if they are successful, they can shape the galaxy. With this existential threat, Sisko manipulates events to fabricate evidence implicating the Dominion in a plot against the Romulans, ultimately leading to their entry into the war. To ensure the plan’s success, Garak assassinates a Romulan senator who discovers the truth, leaving Sisko grappling with the cost of his actions.

Here, Sisko exemplifies Machiavelli’s concept of virtù—a leader’s capacity to shape fortune through decisive action. Machiavelli would argue that Sisko’s actions, while morally abhorrent on the surface, were necessary to secure the survival of billions. For Machiavelli, the end often justifies the means, and Sisko’s willingness to compromise his ethics for the greater good aligns with this principle. His internal conflict, captured in his iconic line, “I can live with it,” underscores the human cost of leadership but does not diminish the cold logic of his choices.

Sisko’s Machiavellian traits extend beyond grand political maneuvers. His governance of Deep Space Nine showcases his ability to balance competing interests with skill and precision. The station is a political powder keg, hosting Bajoran religious factions, Federation officers, and alien merchants while remaining a prime target for Dominion and Maquis interference. Sisko must navigate this volatile environment, ensuring stability without alienating key allies like the Bajorans, whose faith in him as the Emissary of the Prophets adds a layer of complexity. While Sisko is often a diplomat, he is not above using force or intimidation when necessary, as seen in his dealings with Quark or the Klingons.

Moreover, Sisko’s relationships reflect his understanding of power dynamics. He leverages his rapport with individuals like Dax, Kira, and Odo, ensuring their loyalty while granting them the autonomy to act as necessary. He also knows when to draw the line, evidenced by his tough-love approach to his son, Jake, or his unyielding stance when dealing with morally compromised individuals like Michael Eddington. Sisko’s ability to inspire trust and fear equally solidifies his authority.

At his core, Sisko’s Machiavellianism is not rooted in malice or ambition but in a profound sense of duty. He is deeply aware of the stakes in every decision, whether a tactical move in the Dominion War or a personal choice that impacts his crew. He is not a leader who seeks conflict but one who recognizes that survival often demands uncomfortable compromises. This duality—his willingness to embrace the darker aspects of leadership while remaining tethered to his humanity—makes him one of the most complex and compelling figures in Star Trek.

So, does Sisko embody Machiavellian leadership? Without question, he does. His pragmatism, moral flexibility, and ability to navigate the treacherous waters of war and diplomacy make him a quintessential Machiavellian prince. Yet, he also challenges Machiavelli’s philosophy by showing that even the most calculating leaders are not immune to the emotional toll of their decisions. In this way, Benjamin Sisko transcends the archetype, becoming not just a Machiavellian leader but a profoundly human one.

Why was The Princess Bride such a good movie?

The Princess Bride rides one of the finest lines in film history. It is the perfect spoof and the perfect genre film.

It doesn’t just lambast the clichés of the high fantasy genre; it is also an incredible film within the genre.

Inigo Montoya (Mandy Patinkin) makes fun of the warrior seeking vengeance cliché, but is there any more iconic example of this trope than Montoya himself?

Westley (Cary Elwes) is a play on the swashbuckling romantic hero, but can you name a more iconic example than Westley himself?

Buttercup (Robin Wright) is your basic damsel in distress, but which damsel is more fun to watch than her?

The amazing thing about The Princess Bride is that you can enjoy it on two different levels.

People who want an entertaining swashbuckling fantasy with amazing characters can watch the movie as a literal film and love it.

People who want to see intelligent satire can watch it as a spoof and love it.

Star Trek: DS9’s Cardassian Tinker Tailor Soldier Spy: Elim Garak explained

Cardassian Elim Garak (Andrew Robinson) was more than a simple tailor on Star Trek: Deep Space 9. With its premiere in 1993, Star Trek: Deep Space 9 introduced a darker tone to Star Trek, with its morally gray characters and lengthy Dominion War storyline. Introduced in DS9 season 1, episode 3, “Past Prologue,” Garak was one of the show’s most lasciviously gray characters, but he nevertheless became a fan favorite. Despite appearing in only 33 of 176 episodes, Garak remains one of the show’s most memorable and beloved characters.

The Cardassians were introduced as villains on Star Trek: The Next Generation and remained enemies of the Federation for most of Star Trek: Deep Space Nine. DS9 more fully explored the Cardassians, showing that, as with most species, not all are the same. Garak was a tailor aboard Deep Space 9 and befriended several station personnel, including Dr. Julian Bashir (Alexander Siddig) and Constable Odo (René Auberjonois). Garak also had a dark history that became useful during the Dominion War.

Garak Was A Cardassian Spy Before Becoming Star Trek: DS9’s Tailor

“Do you know what the sad part is, Odo? I’m a very good tailor.”

Before the events of Star Trek: Deep Space Nine, Garak was a high-ranking member of the Cardassian intelligence agency known as the Obsidian Order. Garak’s father, Enabran Tain (Paul Dooley), was head of the Order and raised Garak in his image. Tain mistreated Garak as a child and refused to acknowledge the adult Garak as his son. Garak once spent time on Romulus posing as a Gardener at the Cardassian Embassy. Although several prominent Romulans died while Garak was there, the Cardassian never confirmed or denied his involvement.

While working for the Obsidian Order, Garak became an expert interrogator, and his skills for lying and misdirection were well-known. At some point, Garak betrayed Tain, who tried to have him killed. Garak managed to escape but was exiled from Cardassia Prime and took up residence on Terok Nor (later known as Deep Space 9). Once the Cardassians left Terok Nor and Starfleet took over, Garak set up a tailor’s shop on the Promenade. Garak hated exile because he loved Cardassia and desperately wanted to return.

Why Garak Fought With Starfleet In DS9’s Dominion War

“That’s Why You Came To Me, Isn’t It, Captain? Because You Knew I Could Do Those Things That You Weren’t Capable Of Doing.”

Star Trek DS9 In the Pale Moonlight Sisko Garak


Despite being Cardassian, Garak fought alongside Starfleet during the Dominion War. When Starfleet was forced to withdraw from Bajoran space, Garak joined the crew of the USS Defiant, saying that he did not want to live on the space station while it was under the command of Gul Dukat (Marc Alaimo). Throughout his time on Deep Space Nine, Garak formed friendships with many of the station’s crew members; some had even come to trust him. Garak fought alongside his Starfleet friends not because he hated Cardassia but because he believed defeating the Dominion was the best course of action.

Not only did Garak’s knowledge of the Cardassian tactics prove essential during the war, but his background as a spy and assassin established his significance, making him an invaluable resource. In DS9 season 6, episode 19, “In the Pale Moonlight,” Garak infamously helped coerce the Romulans into joining the Dominion War by fabricating evidence and assassinating a Romulan senator. Garak spent the latter part of the Dominion War decoding Cardassian transmissions for Starfleet Intelligence. Although he was troubled that his actions would likely lead to Cardassian deaths, he understood that defeating the Dominion was best for everyone involved.

What Happens To Garak After Star Trek: DS9

“The Truth Is Usually Just An Excuse For Lack Of Imagination.”

When the United Federation of Planets planned an invasion of Cardassia Prime near the end of the Dominion War, Garak helped lead a civilian uprising on Cardassia. After the Dominion wiped out a Cardassian city in retaliation, the Cardassian soldiers began turning against the Dominion, shifting the tide of the battle. Once the Dominion War ended, Garak decided to remain on Cardassia, presumably to aid in the reconstruction efforts. With over 800 million Cardassians dead and much of the infrastructure destroyed, Garak lamented that Cardassia would never be the same. Still, he acknowledged that his people had also caused much harm.

Garak’s last conversation on Star Trek: Deep Space Nine was with Dr. Julian Bashir, who he called “such a good friend,” adding that he was “going to miss [their] lunches together.”

Although Star Trek: Deep Space 9 did not reveal much about what happened to Garak after the conclusion of the series, several Star Trek tie-in novels have told more of Garak’s story. In A Stitch in Time by Andrew Robinson, Garak remained on Cardassia, aiding in the planet’s recovery and helping push for democratic reforms to the government. In other novels, Garak eventually became the Cardassian Ambassador to the Federation. Regardless, Garak would likely remain on Cardassia for the foreseeable future, considering how much he cared for his planet and missed it during his exile.

Garak Returns In Star Trek: Lower Decks — With A Twist

“In Some Dimensions, I’m A Tailor…”

Throughout Star Trek: Lower Decks season 5, Starfleet has been searching for the cause of numerous quantum fissures that have opened wormholes to the multiverse across the galaxy. Lower Decks season 5, episode 9, “Fissure Quest,” reveals that Section 31’s Captain William Boimler (Jack Quaid) has assembled a crew of alternate universe Starfleet officers to investigate these rifts. Among Captain Boimler’s crew is none other than Elim Garak, who serves as the ship’s surgeon on the starship Anaximander. This Garak is a brilliant surgeon, but he does mention that he’s a tailor “in some dimensions.”

While on the Anaximander, Garak met an Emergency Medical Hologram of Dr. Julian Bashir, and the two got married. When Garak goes to rescue his crewmates (who have been captured by “feral Khwopians”), Dr. Bashir protests that Garak is “just a surgeon,” to which the Cardassian replies, “I am a surgeon, but not just.” Garak proves himself a capable fighter in any universe, taking out the Khwopians and rescuing his crew. Garak remains one of Star Trek: Deep Space 9’s most significant characters, and his return in Star Trek: Lower Decks is a pitch-perfect comeback for the lovable, morally gray Cardassian.