StarTrek01.25–Space Seed

Space Seed: an episode that is not as good, and more problematic (#MeToo) than I remember it. Still a classic, but not a masterpiece. Excellent sci-fi elements: Most extreme and detailed “future history” Trek has ever attempted: Mid 1990s Eugenics Wars; a dictator from Northern India region (possibly a Sheikh), leading a band of genetic mutants from all over the world  (Western, mid-European, Latin, Oriental) who were created by a pack of ambitious scientists; Earth on the verge of a dark ages, whole populations bombed out of existence. We dispense with the notion that the 1990s depicted here has to be ret-coned with our actual reality. Interpreted as written (in the mid-1960s) this episode deepens our understanding of the Star Trek universe by showing us that the people we meet on the Enterprise are part of a society that learned a some very hard lessons in its relatively recent history. Small nitpick of a plot hole I’ve never thought about until now: Kahn rules from 92 to 96; since he is clearly in his 40s at this time, he was likely born in the 1950s. So the Eugenics Wars had their beginnings in the fictional universe even before decade the show is being made in our actual universe. The TOS message about the Eugenics Wars and genetic manipulation was not that you might create people with Terminator-like powers who will turn on you. It is a similar sci-fi theme as expressed in the Terminator movies, but with a different emphasis: not on the created product, but on the creators. The real villains are the scientists who designed them, and the message is one that Trek has made in many episodes going back to both pilots: there are no shortcuts; shortcuts of hard problems of human nature only cause more problems than you solve; using science and technology as a cureall *really* causes problems. (Listen to the analysis of McCoy’s speech about the Eugenics scientists.)    Kahn is written as a product of ambitious scientists trying to design the perfect person: arrogant; self-assured; entitled to take what he wants; utter lack of empathy; sociopathic; he speaks with great arrogance. This makes him an unlikable character, even as a villain. Montalban’s performance elevates him.   Marla McGivers: another problematic representation of a female character. Kahn’s relationship with McGivers: Not only was it over the top misogyny (that some producers objected too even by 1966 standards), other parts were cliche and predictable. Too many of his scenes are devoted to portraying him as a virile sex object, the long scene pulling down her hair in the mirror being a prime example. All that and more in the podcast.