Are We All Too Cynical for Star Trek? - by Bill Coberly - 0 views
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science fiction trek utopia values TV culture history
shared by Javier E on 04 Feb 24
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WHAT DOES IT MEAN IF WE CAN’T even trust the institutions in our imagined utopias?
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Starfleet’s exact role was left intentionally vague in the original series (1966–69); the writer’s guide for the original Star Trek explicitly encourages writers to “stay away from it as much as possible,” partly to avoid getting into the details of Earth’s future politics. But by the time of Star Trek’s heyday in the mid-1990s, Starfleet was established as an elite institution composed of brilliant and dedicated people (human and otherwise) who served in an organization resembling NASA, the Coast Guard, the Navy, and the Department of State all bundled together, with all of the opportunities for incoherence and mission creep that jumble implies.
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One of the greatest episodes of Deep Space Nine (1992–99), “In the Pale Moonlight,” is entirely about how, in times of crisis, moral compromise may be necessary, even for Starfleet. But such cases are treated as exceptional, unusual circumstances far beyond the norm; as a rule, Starfleet is good, and the best way to be a good servant of the true and just in the world of Star Trek is by being a good Starfleet officer. How does one be a good Starfleet officer? By doing one’s job, by being a professional, by following one’s duty.
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the characters in the core three modern shows—Discovery, Picard, and Strange New Worlds—are less concerned with professionalism and duty and more concerned with personal morality, authenticity, and teamwork.
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Dylan Roth, writing for Fanbyte, suggested that as Star Trek has aged, it has “changed from a series about benign authority to one about stalwart heroes protecting an institution from moral decay.” This is true enough, but I also think there’s something else going on with the modern Trek shows. Namely, the atmosphere and philosophy of the shows is much less comfortable with the maxims of professionalism and duty that were foundational to pre-2017 Star Trek media.
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Modern Star Trek, much like older Star Trek, often presents its main characters as moral paragons, but whereas older Trek would usually depict them embodying Starfleet’s ideals in the presence of challenging aliens, modern Trek is more likely to establish their uprightness by contrast with the faceless and untrustworthy institution of Starfleet itself. Both eras do both things, at least occasionally, but the ratio has notably shifted.
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WHY THE CHANGE? Part of it probably has to do with the other material that Star Trek writers are drawing from. The ’60s and ’90s-era Trek writers either served in the military themselves or were drawing from science fiction written by people who had. (Gene Roddenberry, the creator of Star Trek, and many of the great science-fiction authors of the mid-twentieth century, including Robert Heinlein, Arthur Clarke, Isaac Asimov, Frank Herbert, and Walter M. Miller Jr., each served in some capacity in the World War II-era U.S. or British armed forces.
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difference in leadership style is everywhere between the two eras. The Strange New Worlds version of Capt. Christopher Pike has been repeatedly praised for being more collaborative than commanding (I struggle to remember a time he has ever raised his voice), whereas Capt. Sisko shouts at everyone, as only the great Avery Brooks can shout. Picard’s version of its title character trades all his twentieth-century grouchy gravitas for a more grandfatherly role; his inspirational speeches now seek to buoy his friends’ confidence rather than inspire subordinates to high achievement.
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Old-school Sisko reminds his crew of the expectations he has for them and unsubtly critiques their behavior as unbecoming of Starfleet officers. He acknowledges their difficulties (“I know it’s hot. . .”), but leaves no doubt that he expects them to perform their duties as professionals anyway. New-school Tilly motivates her command by making it clear that she sees and hears their concerns, and encourages them to work together by seeing the value in their unique life experiences.
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modern Trek writers are far less likely to have served—but are far more likely to have worked in twenty-first-century corporate America, which has a rather different set of norms and concepts of professionalism.
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more fundamentally, popular science fiction today—as written by authors like N.K. Jemisin, Martha Wells, and Tamsyn Muir—is more likely to be concerned with questions of identity and combating imperialism. It is also more likely to be written from marginalized perspectives, which have valid reasons to distrust institutions and authority. For many of these writers, concepts like “professionalism” have questionable implications
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Besides, nobody likes any of America’s institutions anymore (and for all that Star Trek is ostensibly international, it is a fundamentally American franchise). Gallup’s polling about Americans’ faith in U.S. institutions shows it hovering at or near record-breaking lows, spawning a great deal of hand-wringing from people across the political spectrum. These apparently untrustworthy institutions range from purely political ones (the presidency, the Supreme Court, etc.) to “the church or organized religion” (whatever that means), “banks,” and “newspapers.”
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What are professionalism and duty if not the suppression of individual quirks in service of some larger goal or institution? Duty overrides individual desires or assessments of right and wrong.
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But older Trek nevertheless believed in duty, because it believed that Starfleet was a fundamentally good institution, even if it may be failed by individual bad or misguided actors. It elevated Starfleet’s regulations and codes of conduct almost to the status of holy wri
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it is difficult to be seriously inspired by the notion of duties if one has a deep distrust of the institutions that assign such duties.
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Of course the characters written by twenty-first-century authors, who are animated by the same deep distrust of American institutions as the rest of us, are less likely to justify themselves with the language of duty than they are by reference to personal morality and authenticity. And of course they’re going to be skeptical of rank and hierarchy because they don’t believe these things are necessarily signs of actual merit or accomplishment any more than the rest of us do.
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Yet I worry. If Star Trek is supposed to start from the assumption that Starfleet and the Federation are quasi-utopian, I worry about what it says about our collective imaginations if we can’t even let the institutions of that fictional utopia be utopian. If we can’t even trust Starfleet, who can we trust?