GEORGE MF WASHINGTON: Misunderstanding Mr. Spock.
In the wake of the cancellation of yet another ridiculous “Star Trek” property, this time the hilariously cringe-inducing “Star Trek: Starfleet Academy,” sane audiences are once again asking the question “why can’t anyone get ‘Star Trek’ right?” The answer may be as simple as this… it’s because the studio’s leadership, as well as the creatives so far tasked with bringing new “Star Trek” stories to life, do not understand what “Star Trek” is, they only know what they wish it was.
These days, Hollywood creatives seem to want to write overtly about their own personal politics more than they want to tell great stories. In the Trump era many of Hollywood’s biggest writers, directors and actors believe deeply that the most important thing they can do with the positions in Hollywood to which they have ascended is to use their art to advocate for Progressive policies. It is the Great Cause which has finally brought meaning to their lives.
The problem is that this approach creates terrible drama every time it’s tried… a truth to which Hollywood has remained uniquely allergic over the last twenty years, in part because they believe “Star Trek” is an exception to this iron rule of story. To the modern Hollywood Progressive, the original “Star Trek” series was one which successfully combined exciting sci-fi adventure stories with constant Progressive political agitation. This is a tragic misunderstanding, but one in which Progressives believe so deeply, they have convinced themselves not only that “Star Trek” can continue to agitate for their preferred political outcomes while succeeding as a piece of popular entertainment, but that it must, because Progressive politics is built into the DNA of the “Star Trek” universe and you cannot have one without the other.
The original Star Trek was JFK’s muscular liberalism projected into space. The young JFK became the young Captain James T. Kirk. Kennedy’s “New Frontier” became “The Final Frontier.” Trek was gunboat diplomacy, in space. Gene Roddenberry and Gene L. Coon, his best writer-producer both served in WWII; Roddenberry would go on to become a Los Angeles policeman. Coon created Star Trek’s “United Federation of Planets” as the intergalactic equivalent of the United States of America.
As James Lileks wrote in 2007 in a piece titled, “A Conservative Trek,” “You could say [Capt. Kirk] did his part for God and Country, but of course Trek believed in neither:”
Nevertheless, the best Trek was conservative: it was rooted in the unchanging nature of man, be they hooting hominids on the plains of Earth throwing rocks at prey, or civilized spacefarers Money, power, lust, war: These were the constants, and Star Trek knew they’d follow us to infinity and beyond. At best we could find enlightened, savvy ways to avoid the pointless fights. But some people only understand a photon torpedo up the dorsal vent port, and we’d best be prepared to deal with them. The Federation, after all, had something called General Order 24, which called for the total destruction of a planet’s surface if the civilization was considered a threat to the Federation. As Vader might have said: Impressive.
Kirk actually invoked General Order 24, in “A Taste of Armageddon.” He used it as a threat, and didn’t carry it out. You can imagine his relief; the paperwork alone would have been a nightmare. But he would have done it if he had to, and not just for the reputation you get back home at the Officer’s Club. Not for Kirk the niceties of diplomacy: If he had to violate a treaty, he’d do it. If he had to save a civilization from the lifeless machinations of an ancient operating system, he’d harangue its computer until it smoked and crashed. In “The Arena,” Kirk didn’t win the battle against a rubber-suit Gorn because they hammered out a six-point Roadmap to Peace. Granted, he got the thumbs-up from the League of Judgmental Effeminate Aliens because he didn’t cave in the Gorn’s head with a stone. But prior to that, he nailed him in the chest with an improvised cannon that shot diamonds. In a cannon-free zone, no less.
All of which is a reminder of how closer to the center did the Kennedy era hug before his assassination, Vietnam, Nixon, and eventually an obsession with identity politics drove Hollywood Democrats completely insane.