Fall always brings brisker days, earlier sunsets, and a whole raft of new books that are impossible to find the time to read. Add this memoir by Patrick Stewart to the pile next to your bed: Making It So (bookshop.org). The Hollywood Reporter has a great video excerpt with audio from the audiobook (narrated by Stewart himself, naturally) about his early days on Star Trek: The Next Generation:
So when he was on set shooting the show’s debut season and co-stars like Jonathan Frakes, Denise Crosby and Brent Spiner would tease him or ad-lib a joke or laugh when they flubbed their lines, it would low-key infuriate him.
“I could be a severe bastard,” he writes. “My experiences at the Royal Shakespeare Company and the National Theatre had been intense and serious… On the TNG set, I grew angry with the conduct of my peers, and that’s when I called that meeting in which I lectured the cast for goofing off and responded to Denise Crosby’s, ‘We’ve got to have some fun sometimes, Patrick’ comment by saying, ‘We are not here, Denise, to have fun.’”
“In retrospect,” Stewart continues, “everyone, me included, finds this story hilarious. But in the moment, when the cast erupted in hysterics at my pompous declaration, I didn’t handle it well. I didn’t enjoy being laughed at. I stormed off the set and into my trailer, slamming the door.”
Q: There’s a passage where you say that, from your father, “I drew Picard’s stern, intimidating tendencies. But I like to think that my mother is in the captain too, in his moments of warmth and sensitivity.” Do you see Picard as your way of reconciling that conflict between your parents?
A: Very much so, yes. Both Star Trek and therapy have been responsible for that. Having to open the doors into my childhood in order to be an actor became utterly intriguing to me in a way that it never had been before. And I regret that when I look back on some of the roles I played, what I might have brought to them if I just released myself a little bit more.
In this short video from the BBC narrated by Helena Bonham Carter, activist and actor George Takei talks about his imprisonment in an American concentration camp during WWII because he was of Japanese descent.
I began school in Rohwer, a real school, in a black tar paper barrack. There was an American flag hanging at the front of the classroom and on the first morning, the teacher said, “We’re going begin every morning with the pledge of allegiance to the flag. I will teach it to you and you are to memorize that.” But I could see right outside my schoolhouse window the barbed wire fence and the sentry tower as I recited the words “with liberty and justice for all”. An innocent kid, too young to understand the stinging irony in those words.
Drawing from the materials of The Roddenberry Archive, this video takes us on a virtual tour of the 3D rendered bridges of every iteration of the Starship Enterprise from Star Trek, from the original 1964 sketches to the final scenes of Star Trek: Picard. I’ve watched a bunch of Star Trek recently and it was neat to see the evolution of the design and presumed technology. Designing for the future is difficult and it’s even tougher when, for instance, you need to design something that for the future that looks contemporary to now but also, somehow, predates a design that looked contemporary 30 years ago. (If that makes any sense…)
Along with the transporters and communicators, one of the marquee bits of technology in the Star Trek universe is the warp engine. From Star Trek: The Movie to DS9 & Voyager to Picard and Lower Decks, this video takes a look at how the warp jump special effect has changed over the years. Surprising thing I did not know: there was no warp jump special effect in the Original Series.
Last week, William Shatner finally got a chance to boldly go where he hadn’t actually been before: into space. And upon returning from the 11-minute flight, the 90-year-old TV spaceship captain had come down with more than a touch of the Overview Effect. From the transcript of his post-flight remarks:
If…. Everybody in the world needs to do this…
Everybody in the world needs to see the…” (begins to cry) “…It was unbelievable, unbelievable. I mean, you know the little things… weightlessness… to see the blue color just.. go WHIP by!!! And now you’re staring into blackness. That’s the thing… the covering of blue… this sheet, this blanket, this comforter of blue that we have around us. We think, ‘Oh, that’s blue the sky!’
And then suddenly you shoot up through it all of the sudden… as if you whip off the sheet off you when you are asleep and you’re looking into blackness. Into BLACK UGLINESS… And you look down and there’s the blue down there… and the black up there and it’s… it’s just… there is Mother Earth… and comfort… and there is ….is there death? I don’t know! Is that death? Is that the way death is?? WOOP, and it’s gone! Jesus…
It was so moving to me… this experience …it’s something unbelievable. You see it… yeah, you know… weightlessness… my stomach went up and I thought, ‘God, this is so weird…’ but not as weird as the covering of blue… this is what I never expected. Oh, it’s one thing to say, ‘Oh… the sky and the thing and the… gradual…’ It’s all true… but what isn’t true… what is unknown until you do it is… is this pillow.. There’s this soft blue… look at the the beauty of that color! And it’s so THIN! And you’re through it in an instant…
He continued:
I don’t know, I can’t even begin to express what I …what I would love to do is to communicate as much as possible … the jeopardy… the the the moment you see how… The vulnerability of everything, it’s so… small. This AIR which is keeping us alive is thinner than your skin! It’s… it’s a… it’s a sliver! It’s immeasurably small when you think in terms of the Universe! It’s negligible! This air… Mars doesn’t have it! No… nothing… I mean, this…
They should have sent a poet. Jokes aside, I’m sure that if I’d just returned from a flight into space, I’d would be equally flummoxed and unable to articulate what I’d just experienced. Hell, I couldn’t even talk after seeing a solar eclipse.
Production designers working on science fiction movies and TV shows are part-time magicians because they routinely have to invent the future using things from the present. The site Star Trek + Design is collecting the futuristic design objects — chairs, cups, silverware, sofas — that designers used on the sets of Star Trek movies and TV shows to depict the future.
Being drawn to the aesthetics of Trek, especially of The Next Generation, made me curious about the specific objects that set designers used to create the visual embodiment of what living and working on a starship would look like in a technologically-advanced, post-scarcity future.
Alas, The Original Series’s inconsistent typography did not survive the stylistic leap into the 1970s. To make up for it, The Motion Picture’s title card introduces a new font, with some of the curviest Es known to sci-fi. It also follows an emerging seventies trend: Movie names beginning with STAR must have long trailing lines on the opening S.
For io9, Eleanor Tremeer digs into the complex and sexist legacy in Star Trek’s progressive universe. From Uhura on, Star Trek has always pushed the boundaries of how women were portrayed on TV, particularly in science fiction, but in some aspects, the shows have also been undeniably sexist.
With Yar gone, the women of The Next Generation fit more snugly into classic feminine molds, as Marina Sirtis reminisces. “They got it right, they cast a woman as the security chief. But Denise left, and the two remaining women were in caring professions. So it was ok to be on a spaceship as a woman, but you had to be a nurturer.” Speaking to io9, Gates McFadden (Crusher) is scathing about the few times the women would be thrown together, not to work together, but to gossip. “If the ladies did have a scene together we were dressed up in leotards talking about men. We weren’t sharing opinions on a medical issue!”
Over the ensuing years, Troi and Crusher would slowly get more screen time, as their characters became more nuanced, but they would rarely get the chance to break out of their nurturer molds. And with Crosby gone, security chief wasn’t the only position that needed filling. “I was never supposed to be the chick on the show, the va-va-voom. That was supposed to be Denise,” Sirtis told us. For as progressive as Star Trek tried to be with its women, every show has something in common: There has to be a hot chick.
To understand why this was the case, you have to look behind the scenes and at who was making the casting and plotting decisions.
If the entertainment industry is dominated by men now, this was even more the case decades ago. Star Trek has had a few female writers and producers over the years-DC Fontana wrote for The Original Series, The Next Generation, and Deep Space Nine; Jeri Taylor got her start producing The Next Generation before co-creating Voyager, to name just two immensely influential staffers. But, as Sirtis points out, Star Trek was a franchise created by men: “Even though we were writing a show about the 24th century, apart from Jeri Taylor and Melinda Snodgrass [another writer], the writers and producers were all men. Twentieth-century men. So it’s not gonna be that far-reaching.”
We could argue, of course, that Star Trek was a product of its era, but the actors were aware, at the time, that the show could be better. This aggravated Gates McFadden, as early as season one of The Next Generation, as she revealed to io9. “I wondered, did the women exist for the men to react to? Even Wesley just reacted to his mother, not seeking out her counsel-for counsel he sought out the men on the ship.” Coming from academia, McFadden was used to a collaborative creative environment, but she didn’t encounter that behind the scenes of The Next Generation. “Jonathan Frakes could bound into the producer’s office and put his feet up, but I couldn’t. That wasn’t acceptable.”
I’m rewatching The Next Generation right now and have been paying a lot of attention to how the women on the show (both the recurring cast and various single-episode characters) are portrayed. There’s definitely improvement after the first season or two, but there’s just so much on the show that’s off and obviously written primarily by and for men.
Here I was, flying along fat, dumb, and happy (like my dad used to say), not really wanting or needing any more The Next Generation-era Star Trek or Jean-Luc Picard in my life and now this. How could I have been so mindless? This trailer got me so fired up for Star Trek: Picard — the Borg! Data in a drawer! a potty-mouthed Seven of Nine! — that I am practically levitating. Nostalgia is death — inject it directly into my veins.
In this NASA promotional film from 1977, Star Trek star Nichelle Nichols takes a tour of the Johnson Space Center with Apollo 12 astronaut Al Bean and urges viewers, especially women and people of color, to sign up to be astronauts on NASA’s Space Shuttle program.
As one of the first black women to play a lead role on television, Nichols was a role model for women and people of color, particularly those interested in science, space, and engineering. When she was she thinking of quitting Star Trek, Nichols met Martin Luther King Jr. at a NAACP fundraiser and he talked her into staying on the show. She recalled King telling her:
Do you not understand what God has given you? … You have the first important non-traditional role, non-stereotypical role. … You cannot abdicate your position. You are changing the minds of people across the world, because for the first time, through you, we see ourselves and what can be.
She relayed her response to NASA with a mischievous twinkle in her eye, “I am going to bring you so many qualified women and minority astronaut applicants for this position that if you don’t choose one… everybody in the newspapers across the country will know about it.”
Nichols credited Star Trek with the success of her recruiting efforts. “Suddenly the people who were responding were the bigger Trekkers you ever saw. They truly believed what I said… it was a very successful endeavor. It changed the face of the astronaut corp forever.”
Among the recruits drawn to NASA by Nichols’ efforts were Sally Ride, the first American woman in space, Ronald McNair & Judith Resnick, who both died in the Challenger accident, Guion Bluford, the first African-American in space, and Mae Jemison, who was the first black woman in space. The diversity of the latest batch of NASA astronauts-in-training is a testament to Nichols’ and NASA’s joint efforts as well. (via open culture)
Georgia politician, almost-Governor, and Democratic superstar Stacey Abrams has a secret to her success: she loves Star Trek. In particular, she loves my favorite Trek series, Star Trek: The Next Generation.
In explaining her approach to politics as a black Democratic woman in a state controlled by white Republican men, she devotes several pages to a pivotal scene from “Peak Performance,” an episode from “Star Trek: The Next Generation.”
In the episode, Data, the preternaturally pale android with a greenish cast to his skin, is playing Strategema, a game that appears to be some incredibly complicated form of 3-D holographic chess, against a humanoid grandmaster named Kolrami. Data cannot defeat Kolrami, he discovers, but he can outlast him, drive him into a rage and force him to quit the game, which is itself a kind of victory.
Ms. Abrams writes that this has helped her focus her own thinking. “Data reframed his objective — not to win outright but to stay alive, passing up opportunities for immediate victory in favor of a strategy of survival,” she says in the book. “My lesson is simpler: change the rules of engagement.”
This sparked some predictably joyous reactions among Star Trek fans:
Stacey Abrams is a STAR TREK FAN?! Please insert that viral “Unfollow me now, this is the only thing I’m going to talk about all day” gif…
(And she loves Queen Nichelle? And this article came out just in time for #TrekThursday, with more DSC tonight?)
Next, that long and detailed piece of Trek fandom. A special piece for me, as we had drinks with @mollitudo at the Convention in Vegas while she was reporting it. The Utopia is the fandom. https://t.co/FodCf34kXU
The sexual politics of Trek became more and intriguing as the show matured. Jadzia Dax, DS9’s science officer and “old man” (eh!), was particularly adventurous - (and deftly incarnated by) @4TerryFarrellhttps://t.co/ZwQrHnL3r3
Star Trek is a thought experiment on how humans would behave under terminally improved conditions. This is why it matters. There’s very little sci-fi that takes on that big question.
It actually is possible to overthink this. All of this about politics and the imagination and utopian possibilities is true. But at the same time, ultimately, it’s just a really cool show. It’s one we grew up with. And as politicians get younger, it’s one we’ve always had with us, framing our background on entertainment, war, morality, politics, economics — everything.
The world the original Star Trek entered was one where space was only beginning to open, as a direct consequence of the nuclear and geopolitical crisis than enveloping the planet. Now, we have all new geopolitical crises to deal with. Star Trek offers a surprisingly resilient fictional framework for understanding most if not all of them. That’s a powerful tool. It’s foolish to pass it up.
These visualizations of the speed of light I posted last week somehow demonstrate both how fast light speed is and how slow it is compared the vastness of the galaxy & universe. Science fiction often bends the rules of physics as we currently understand them, with fictional spacecraft pushing beyond the speed of light. In Star Trek, the measure of a ship’s velocity is warp speed. Warp 1 is the speed of light, Warp 6 is 392 times the speed of light, etc. In this Warp Speed Comparison video, EC Henry compares the top speeds of various Star Trek vessels (the original Enterprise, Voyager, the Defiant), racing them from Earth to the edge of the solar system.
Once again, you get a real sense of how fast these ships would be if they actually existed but also of the vastness of space. It would take 10 seconds for the fastest ship to reach the edge of the solar system at maximum warp and just over 6 hours to get to the nearest star, Proxima Centauri. Wikipedia lists a few dozen stars that are within a day’s journey at full warp…a trip that takes light more than 16 years. The mighty speed of light is no match for the human imagination. (thx, jim)
A huge cache of rare Hollywood memorabilia is up for sale at a London auction on September 20. The catalog includes over 600 items from movies like Back to the Future, Blade Runner, Batman, Blues Brothers, Die Hard, Goonies, Harry Potter, Indiana Jones, James Bond, Lord of the Rings, Star Trek, Star Wars, Superman, Terminator, Willy Wonka and the Chocolate Factory, and X-Men.
A Wonka Bar from Willy Wonka and the Chocolate Factory (estimate £8,000-£10,000), a rare item because most props from the film were “destroyed at its Bavarian film studio to allow production to wrap quickly, making way for the immediate filming of Cabaret”:
Dan Hon, who you may remember trained a neural network to make up British placenames, has now done the same thing with Star Trek. He fed all the episode titles for a bunch of Treks (TOS, DS9, TNG, etc.) into a very primitive version of Commander Data’s brain and out came some brand new episode titles, including:
Darmok Distant (TNG)
The Killing of the Battle of Khan (TOS)
The Omega Mind (Enterprise)
The Empath of Fire (TNG)
Distance of the Prophets (DS9)
The Children Command (TNG)
Sing of Ferengi (Voyager)
Spock, Q, and mirrors are also heavily featured in episode titles.
For the Love of Spock is a documentary about Leonard Nimoy and the beloved character he played on Star Trek. Nimoy’s son Adam is the director, the film was funded with the help of Kickstarter, and is playing at the Tribeca Film Festival this weekend (with special guest appearance by Zachary Quinto).
In Star Trek, do you die every time you use the transporter? How would you know if you did or didn’t? I love the Ship of Theseus vs Cutty Sark comparison.
Part 3 argues for a reductive account of personal identity; rather than accepting the claim that our existence is a deep, significant fact about the world, Parfit’s account of personal identity is like this:
At time 1, there is a person. At a later time 2, there is a person. These people seem to be the same person. Indeed, these people share memories and personality traits. But there are no further facts in the world that make them the same person.
Parfit’s argument for this position relies on our intuitions regarding thought experiments such as teleportation, the fission and fusion of persons, gradual replacement of the matter in one’s brain, gradual alteration of one’s psychology, and so on. For example, Parfit asks the reader to imagine entering a “teletransporter,” a machine that puts you to sleep, then destroys you, breaking you down into atoms, copying the information and relaying it to Mars at the speed of light. On Mars, another machine re-creates you (from local stores of carbon, hydrogen, and so on), each atom in exactly the same relative position. Parfit poses the question of whether or not the teletransporter is a method of travel — is the person on Mars the same person as the person who entered the teletransporter on Earth? Certainly, when waking up on Mars, you would feel like being you, you would remember entering the teletransporter in order to travel to Mars, you would even feel the cut on your upper lip from shaving this morning.
Then the teleporter is upgraded. The teletransporter on Earth is modified to not destroy the person who enters it, but instead it can simply make infinite replicas, all of whom would claim to remember entering the teletransporter on Earth in the first place.
Ville-Matias Heikkilä pointed a neural network at the opening title sequence for Star Trek: The Next Generation to see how many objects it could identify.
But the system hadn’t seen much space imagery before,1 so it didn’t do such a great job. For the red ringed planet, it guessed “HAIR SLIDE, CHOCOLATE SAUCE, WAFFLE IRON” and the Enterprise was initially “COMBINATION LOCK, ODOMETER, MAGNETIC COMPASS” before it finally made a halfway decent guess with “SUBMARINE, AIRCRAFT CARRIER, OCEAN LINER”. (via prosthetic knowledge)
In the ongoing struggle of Star Wars vs. Star Trek, Wars is the clear winner in the speed category: the Millennium Falcon is thousands of times faster than the Enterprise. Also, I didn’t know the Death Star was so fast!
Now this is some top notch investigative journalism. In Star Trek: Voyager, a Starfleet ship is stranded on the other side of the galaxy and the estimated travel time back to Federation space is 75 years. Early on in the show, it’s revealed the ship has only 38 photon torpedoes and “no way to replace them after they’re gone”. But they used many more than that throughout the run of the show:
This is perfect…Riker Ipsum is lorem ipsum dummy text from Commander Riker’s dialogue on Star Trek: The Next Generation.
Our neural pathways have become accustomed to your sensory input patterns. Computer, belay that order. The game’s not big enough unless it scares you a little. When has justice ever been as simple as a rule book? What’s a knock-out like you doing in a computer-generated gin joint like this? Did you come here for something in particular or just general Riker-bashing?
“Implied win” refers to episodes in which you don’t see a plea bargain or Guilty verdict, but it’s pretty clear that’s the way things are headed. For instance, if the killer’s wife tearfully agrees to testify against him and then the episode ends, it’s an “implied win.” We don’t know the outcome, but we are led to believe it’s going to be some flavor of Justice. (The rare cases where the result was completely unclear went into the Other category.)
Over the entire run of the show, more than a third of all the episodes ended in Guilty verdicts, while another third ended in plea bargains. 80% of episodes ended in solid wins: either Guilty verdicts, plea bargains, or implied victories. That’s not too shabby, considering that the actual NYPD has a homicide clearance rate of about 50%. (Although you have to figure Law & Order isn’t meant to represent every case these detectives investigated; in 20 seasons, I don’t think there was a single murder that didn’t result in an arrest.)
Nobody sits around and plays Farmville. Nobody gets embroiled in a flame war concerning the portrayal of Klingons in human vids or just sits and watches vids with their feet up. Nope. The brave men and women of the future read (super old) books, talk to each other face to face, and even in their VR fantasies practice for things they will have to do in real life or, admittedly quite realistically, have space holosex. There is no WoW. There are no video games at all unless they are evil ones from Risa that will suck out your brains.
Because of this, and because of the lack of a social network, it is possible to be alone in the Star Trek world in a way which I would have to deliberately take action to achieve in my world. Even when we are alone, most of us check a number of communication vectors and leave them live—Twitter, email, text messages, Facebook, our blogs, Reddit, news feeds. We are a baby hivemind spinning our training wheels. To be alone as profoundly (to me) as Sisko, Kira, and the rest often are, I would have to make a decision to shut down all of those streams.
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