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Star Trek’s History of Progressive Values — And Why It Faltered on LGBT Crew Members
In 2009, director J.J. Abrams transformed Star Trek into a true mainstream hit with his blockbuster movie reboot, earning $385 in worldwide box office and shattered the opening weekend IMAX record; with Star Trek Into Darkness about to hit theaters this Friday, he seems poised to do it again.
But long before the 47-year-old franchise was breaking box office records, it was breaking ground as one of the most forward-thinking franchises in television and film history. Thanks largely to the (at the time) radical philosophy of creator Gene Roddenberry, the show attracted audiences with its adventure stories, but it kept them with its utopian optimism: the idea that the raging intolerance of the day would someday become a thing of the past, and anyone could explore the stars if they wanted.
In the future, Roddenberry envisioned race and gender as non-issues. He put Japanese-American George Takei, as Lt. Hikaru Sulu, at the helm; African-American Nichelle Nichols, as Lt. Nyota Uhura, in the communications chair; and even attempted to make the Enterprise’s first officer a woman (studio executives rejected that unsavory idea, so the alien Spock took the job). The equality on the U.S.S. Enterprise’s bridge was a watershed moment, both in television history and in Americans’ understanding of social equality.
“Most television shows, at best, follow cultural trends. Star Trek had clear-cut ideals of its own,” wrote Joan Winston, Jacqueline Lichtenberg and Sondra Marshak in their 1975 book Star Trek Lives!, the first and most definitive chronicle of the early years of Trek fandom. “No one would claim that Star Trek was the cause of all the improvement [we've made with problems like racism and sexism]. But it is still harder to believe that it had no effect, when twenty million people tuned in to Star Trek and saw Mr. Spock being treated as friend and brother by Captain Kirk, saw the black and the Russian and the Oriental [sic] and the Southerner and the others treating each other with respect and love.”
But long before the 47-year-old franchise was breaking box office records, it was breaking ground as one of the most forward-thinking franchises in television and film history. Thanks largely to the (at the time) radical philosophy of creator Gene Roddenberry, the show attracted audiences with its adventure stories, but it kept them with its utopian optimism: the idea that the raging intolerance of the day would someday become a thing of the past, and anyone could explore the stars if they wanted.
In the future, Roddenberry envisioned race and gender as non-issues. He put Japanese-American George Takei, as Lt. Hikaru Sulu, at the helm; African-American Nichelle Nichols, as Lt. Nyota Uhura, in the communications chair; and even attempted to make the Enterprise’s first officer a woman (studio executives rejected that unsavory idea, so the alien Spock took the job). The equality on the U.S.S. Enterprise’s bridge was a watershed moment, both in television history and in Americans’ understanding of social equality.
“Most television shows, at best, follow cultural trends. Star Trek had clear-cut ideals of its own,” wrote Joan Winston, Jacqueline Lichtenberg and Sondra Marshak in their 1975 book Star Trek Lives!, the first and most definitive chronicle of the early years of Trek fandom. “No one would claim that Star Trek was the cause of all the improvement [we've made with problems like racism and sexism]. But it is still harder to believe that it had no effect, when twenty million people tuned in to Star Trek and saw Mr. Spock being treated as friend and brother by Captain Kirk, saw the black and the Russian and the Oriental [sic] and the Southerner and the others treating each other with respect and love.”
the rest is here
i've been watching old tng episodes and the subplot of the one i'm watching tonight involves a race of asexual aliens and what happens when one of the visiting crew members reveals she identifies as female and becomes involved with ryker. they're found out and, under her law, she had to go to treatment to cure her of her 'deviancy'.
ryker and worf are staked outside the treatment center, but i haven't finished the episode and have no idea what happens next.
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