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Six decades of politics (but little government)
The first aired episode of “Star Trek,” entitled “The Man Trap,” premiered on September 8, 1966 — 60 years ago today. I’m actually editing a political science fiction issue of The Forum right now, and it’s prompted to me think a lot about the ways that Trek deals with politics and government and what it’s offered us as commentary. The @smotus report is a reader-supported publication. To support this work, please become a paid subscriber. Subscribe The original TV series ran from 1966 to 1969. It had a loyal but modest following, but the audience grew substantially with the series in syndication for years after that. The franchise developed its first motion picture in 1979, followed by five sequels, and then a whole other series of films built around the “Next Generation” series that first aired in 1987. In recent decades, several more TV series have built up around it, including the current “Strange New Worlds,” now in its fourth season. Throughout the past six decades, the franchise has offered us a good many insights into US politics and international relations, although often disguised as science fiction yarns. The original series was largely a Cold War fable, with the United Federation of Planets (a stand-in for the US) perpetually at odds with the Klingon Empire (a stand-in for the USSR). The “Let That Be Your Last Battlefield” episode (1969) posited a planet divided into two races, largely indistinguishable to outsiders, but nonetheless constituting a brutal racial hierarchy. “Patterns of Force” (1968) showed a struggling planet where the leader had attempted to construct a benevolent dictatorship — literally Nazism without bigotry — and found that authoritarianism could not exist apart from hierarchy and oppression. (Relatedly, I’d put “Star Trek VI: The Undiscovered Country,” high on a list of dad films about the end of the Cold War, near “The Hunt for Red October.”) Get 20% off for 1 year Indeed, the original series itself was something of a political statement, with a multi-racial crew running the Enterprise, a diverse and largely peaceful Federation mostly free from want and oppression, and protected by Starfleet, an armed force whose scientific mission was at least as important as its military one. Famously, when Nichelle Nichols wanted to walk away from the role of Uhura on the original series, none other than Martin Luther King, Jr. met with her and urged her to remain on the show, discussing the importance of viewers seeing an intelligent Black woman as part of the command team three centuries hence. Later series in the Trek franchise offered a good deal of political commentary on their own, but probably none as explicitly and incisively as “Deep Space Nine,” which ran from 1993 to 1999. The episodes surrounding the Dominion War, especially the “In The Pale Moonlight” (1998), showed the compromises, sacrifices, and moral rot associated with winning even a just war — probably better than any series would until “Andor” (2022-25). In “Far Beyond The Stars” (1998), Captain Benjamin Sisko is somehow transplanted to the role of a science fiction writer in 1950s New York. The writer is frequently sidelined and his ideas stolen because publishers don’t want to credit a Black writer. Several series have depicted the secretive Section 31 — an unacknowledged black ops security force operating within Starfleet. These episodes often end up using Section 31 as a foil to show the dangers of a lawless group within a lawful society, even (especially) when that group posits itself as essential for everyone else’s freedom to continue. The current “Strange New Worlds” has played with a few political themes. I found the first two seasons of this show among the best that the Trek franchise has produced in decades, but this season and the last have really been struggling for ideas. Yet one interesting thread is the idea that the diplomatic and enlightened leadership style of Captain Christopher Pike will not work in all situations. “A Quality of Mercy” (2022), which I wrote about here, puts Pike in the middle of a battle with a Romulan vessel in an alternate timeline, and finds that Pike’s conciliatory style would actually make a lengthy and deadly war more likely, while a quick and more violent approach might have prevented the war. This season’s opener, “Valles Marineris,” shows a pre-lightspeed civilization locked in a war to the death with a neighboring planet. The idea of an alliance or a federation hasn’t even occurred to them — their ship’s commander is curious but doesn’t see it as an option. For a franchise as political as “Star Trek,” one thing we almost never see is the government. We get occasional glimpses of Starfleet’s council — mostly uniformed people at a rectangular table — but almost no sense of how the Federation is governed. Are there elections? Who is in the legislature? How much power does the president have? What kind of factional divisions do they wrestle with and how? The shows and films are pretty silent on this. We’ve seen a few military tribunals within Starfleet, but little about how civilians deal with crime and injustice. With recent years seeing some of the franchise’s more interesting plot lines and casts, it seems clear that Star Trek is still full of energy and ideas. Given the erosion of American democracy and the reshuffling of the international order, there’s no shortage of material for future shows to comment on. I’m not sure we should toast to 60 more years, but cheers to a show that continues to teach us about ourselves. Share
Science can serve dark as well as light
I’m not sure how many of you are watching “Star City,” Apple TV’s spin-off of its “For All Mankind” program (2019-present), but it’s one of the better sci-fi series I’ve seen in a while, with an impressively dark political message. (Some light spoilers below.) For the uninitiated, “For All Mankind” presented a slightly tweaked history of the U.S. space program in which it was the USSR that landed on the Moon first in 1969, and shortly thereafter put a woman cosmonaut on the lunar surface. This sparks an ongoing space race that, in the original series, yields a lot of benefits for humanity. President Nixon’s insistence on a female astronaut corps to compete with the Soviets boosts the feminist movement of the 1970s and the ERA passes. New fuels generated for the space program create clean and cheap energy around Earth. There are also some darker changes — the USSR is thriving well into the 2000s, there are terrorist counter-technology movements around the globe, laborers on Mars work in nightmarish conditions and organize strikes and riots, etc. the @smotus report is a reader-supported publication. To support this work, please become a paid subscriber. Subscribe That show offers glimpses into the subtle ways this Earth is different. Teddy Kennedy never went to Chappaquidick because he was racing back to Washington to deal with the space program crisis; he gets elected President in 1972. John Lennon survives his early 1980s shooting but Pope John Paul II does not. The Apple Newton succeeded. Pretty much the whole of season 4 is a setup for an Al Gore joke. Again, mostly, the vision that “For All Mankind” presents is a positive one, with technology advancing many human interests. “Star City” goes in a very different direction. This spin-off show is about the same set of events but from the Soviet perspective. As we meet them, the team of scientists and cosmonauts responsible for the lunar landing are still basking in their hero status, but their program is embedded deep in the Soviet security state of the late 1960s. Everyone’s apartment is bugged. Whole teams of clerical staff spend their days transcribing recordings of people’s lives. People in the program, including respected cosmonauts, are regularly arrested. An incredibly menacing Colonel Lyudmilla Raskova (Anna Maxwell Martin) forces confessions and tortures and kills, expressing little more than annoyance in the process. Meanwhile, the space program’s highly respected Chief Designer (Rhys Ifans) has a vision for the program that he knows the government will not approve. He insists that they need to think past the Moon to focus on colonizing the solar system, starting with Venus. (This is a rough parallel to the Americans’ pivot to Mars in the original show.) He essentially builds a secret space program within the space program, calculating that the government will embrace the mission after it has succeeded. (As an aside, I’m not sure why the Venus obsession, as a successful mission can’t produce the biggest public relations payoff: a cosmonaut standing on the surface holding the Soviet flag. Anyone standing on Venus would be immediately crushed by the 92-bar atmosphere and then cremated in the 900°F temperatures. But in a country with no free press perhaps the visual payoff was less valued.) But the overall vision is that the technological advances have only amplified the most fearsome aspects of the Soviet system. The state is paranoid (but not incorrect) about American spies and does monstrous things to protect its secrets. People are terrified to trust each other. Classic banality-of-evil figures order people to harm those they care about; those people comply rather than get shot. Others are forced into criminal behavior to protect loved ones. We’re reminded all the time these days of what happens when a government despises science. It manifests in the defunding of schools, the elevation of fossil fuels as the rest of the world pivots to solar, outbreaks of measles and diarrhea, etc. But “Star City” offers a vision of a bad government that likes science. It’s not encouraging. It’s not yet clear if there will be a season two of this show. But I strongly recommend season one. It’s both thoughtful and gripping. Share