Star Trek, 1960s Social Movements, and Trump Politics

Introduction

The art of popular culture often reflects and represents truths, ideals, or realities of specific ages and eras—moments in time that are intensely highlighted and depicted in popular art as a means of processing the zeitgeist. However, popular art can also become an important part of an era and of a movement because it acts as a kind of lightning rod, or banner, or signal to others who might also be looking for a cause behind which to rally. One example of popular art that spanned the latter half of the 20th century and has carried on into the first half of the 21st century is the show and film series Star Trek. As Gonzalez points out, Star Trek is many things to many people, mainly because as popular art it appeals to a wide variety of groups and reflects many different issues and ideas that are important to or that affect those groups.

Gonzalez makes the argument that the original Star Trek series was a salient component of the civil rights, feminist, and anti-war movements of the 1960s: those movements were happening as the series was being produced, and the artists behind the series reflected real-life concerns and problems in the plot lines and stories of the science-fiction television drama. That is how popular art becomes a kind of magnifying glass of popular culture—it distills themes and issues, examines consequences and effects, and takes real-life drama and unfolds it in the safe space of the make-believe. This is not something confined to the 1960s. In fact, the same principles hold true today, which is why one can use Star Trek and popular culture to analyze what can be called Trump Politics and discuss what that might portend for the future. This paper will do just that, and it will also engage Gonzalez's argument that Star Trek served as an important component of the civil rights, feminist, and anti-war movements of the 1960s.

Trump Politics and Popular Culture

Popular culture has always had a significant impact on society and politics (Dyck). It often reflects and reinforces societal values, beliefs, and norms (MacKenzie). Popular culture also shapes people's perceptions of the world and their understanding of politics and social issues (Edensor).

Donald Trump's politics are often associated with populism, nationalism, and conservatism. During his time in office, he pursued policies that focused on America-first priorities, such as withdrawing from international agreements, imposing tariffs on foreign imports, and building a wall on the US-Mexico border. Trump's politics also emphasized law and order, and he sought to take a tough stance on crime and immigration.

In the case of Trump Politics, however, there is no consistency in terms of public perception. Some have argued that his politics resemble those of a typical villain in popular culture (O'Meara). Others have argued that his political antics characterize him as an over-the-top hero of a pop culture dramedy (Prusa and Brummer). The character of the villain in popular culture is often a narcissistic, power-hungry, and authoritarian figure who wants to control others and bend them to his will. It is not difficult to see how Trump might fit that mold. However, it is also not surprising to find that those who align politically opposite of Trump suggest that he embodies these qualities far more than he does the supposed virtues that the Right attributes to him. For those on the left, Trump and his politics are a reflection of a villainous character. Trump supporters, on the other hand, see him as a hero figure fighting the pernicious enemy known as the Deep State. In either case, Trump Politics calls to mind stark terms in which there is some conflict between good and evil, right and wrong.

As Gonzalez points out, on the one hand, "Trump can be viewed as reflecting the political disaffection the public feels toward official politics—as reflected in such shows as VEEP, etc." (111). Overall, Trump Politics represents a moment of "pessimism and demoralization" in America, wherein popular culture has reached such a state that it would seemingly back a wrecking ball to bring it all down rather than try to work constructively within the confines of the very governmental structure it seeks to destroy (Gonzalez 100). Trump Politics is a moment in which a kind of moral nihilism in popular culture has won the day. By speaking in the terms of the little guy and of middle America, Trump cast himself as the defender of working-class values, the crusader pitting himself against the corruption of Washington and the "woke" politics of the new left.

In contrast, the world of Star Trek has often been seen as an idealized vision of the future, where humanity has overcome its most basic flaws and works together for the greater good. Star Trek promotes values such as diversity, tolerance, and cooperation, which are often seen as the antithesis of Trump's politics. Gonzalez states that Star Trek "communicates that collective decision-making (human agency) is central to the progressive dialectic" (37). At the same time, Gonzalez argues that according to the Star Trek text, "neoliberalism is poised to destroy civilization" (59). In other words, society is at a critical point in history and a change is needed in order for the next great leap forward. That change is part of the Hegelian dialectic encountered in Star Trek: "Both Hegel and Star Trek argue that the ontology of objects vis-à-vis the Absolute extends to human civilizations—with Star Trek indicating that human existence itself can/will cross into a different qualitative/existential plane" (47). In some ways, therefore, it could be argued that Trump Politics represents this crossover moment; whether it is for good or for ill depends upon one's subjective experience of that moment. Like in the "Mirror, Mirror" episode of Star Trek, alternative realities seem to exist in which different loyalties and allegiances are manifested in our own current society. Left and Right both have their leaders and followers. Perhaps this is the difference, to some, between the Empire and the Federation.

Ultimately, Gonzalez's book Popular Culture as Art and Knowledge: A Critique of Authoritarian Neoliberalism and the Crisis of Democracy argues that popular culture can provide valuable insights into the political and social issues of our time. Gonzalez suggests that popular culture can help us understand the underlying dynamics of authoritarianism, neoliberalism, and the crisis of democracy that we are currently experiencing. But some perspective is still needed because the country is so badly divided. Some see Trump as an authoritarian; others see him as a heroic defender of civil liberty. Some see him as the destroyer; others see him as the savior. It all depends on perspective. Popular culture also plays a part in those subjective perspectives because it is informed by, and in turn informs, the very people whose opinions cast Trump in one light or the other.

Ultimately, the influence of popular culture on politics and society is complex and multifaceted. While it can reflect and reinforce societal values and beliefs, it can also challenge and subvert them. The political future remains uncertain, and the role of popular culture in shaping it will continue to be a topic of debate and discussion. For Trump, some argue that his policies and rhetoric have contributed to the polarization and division of American society. Others believe that Trump has tapped into legitimate concerns of a neglected and disillusioned segment of the American population, and that his ideas and policies will continue to influence politics in the future. Currently, both seem to be true. The nation still seems impossibly divided, and any hope of reconciliation feels further gone than ever before. However, if Star Trek and popular culture can teach anything, it is that there must inevitably be a sea change—some healing that takes place—before the country can move forward as a whole to address its problems and issues in a constructive way.

Star Trek as a Mirror of 1960s Social Movements

The original Star Trek series, which aired from 1966 to 1969, was created during a time of great social upheaval in the United States. The civil rights movement, the feminist movement, and the anti-war movement were all in full swing, and the series reflected many of the issues and concerns of these movements. Some of the ways in which the original Star Trek series can be seen as a salient component of these movements include episodes such as "Let That Be Your Last Battlefield," which focused on the folly of racial discrimination.

Civil Rights and Racial Diversity in Star Trek

As a component of the civil rights movement, Star Trek featured a diverse cast of characters, including African American, Asian, and Russian characters, which was uncommon for television at the time. The 1960s was a period when racial and ethnic segregation was still prevalent in many parts of the United States. This meant that people from different racial and ethnic backgrounds did not have the same opportunities as others when it came to education, employment, and representation in the media. Television networks and studios were primarily run by white men who tended to produce and promote shows that reflected their own experiences and values. As a result, people from diverse backgrounds were often marginalized or stereotyped in television shows, or not represented at all. Many networks and studios were also hesitant to take risks with controversial subject matter, including the casting of actors from different racial or ethnic backgrounds, for fear of alienating their audience or drawing negative backlash from advertisers. However, Star Trek helped usher in an era of change by reaching across the divide and transforming how society was represented on the small screen (Gonzalez).

In addition, the series often tackled issues related to race and prejudice, such as in the episode "Let That Be Your Last Battlefield." In that episode, the crew of the USS Enterprise encounters two aliens from the planet Cheron who are locked in a bitter and seemingly endless conflict. One alien, Lokai, has black skin on the left side of his body and white skin on the right, while the other alien, Bele, has the opposite coloration. Each is convinced that his own coloration is superior and that the other is inferior and deserving of extermination. The ridiculousness of the setup might seem extreme, but it was clearly pointed commentary about racial discrimination in the United States at the time. The episode's critique of racism and prejudice is unmistakable: it shows how arbitrary and irrational such beliefs are, and how they can lead to endless conflict and suffering. At the end of the episode, Lokai and Bele are revealed to be the last survivors of their planet's war, and they continue to fight each other even as the Enterprise crew departs. The ending suggests that people locked in a bitter racist struggle will ultimately defeat themselves. The USS Enterprise, unable to do anything to prevent the destruction of the planet's people, has no choice but to move on. This is again consistent with Gonzalez's point that popular culture and art like Star Trek speak to the necessity of change in society as a prerequisite for moving to a new state of awareness.

Conclusion

The politics of art, like the politics of life, are not always simple and easy to categorize or label. Star Trek was good at dealing with complexity and nuance, as it did in "City on the Edge of Forever." Today, lessons from Star Trek could be applied to help us understand what is going on in our own society. With Trump Politics, for instance, we need to determine whether they represent a wrecking ball that society is deliberately swinging in order to tear down existing structures so as to rebuild later, or whether they are the manifestation of authoritarianism. Donald Trump's politics are often considered highly divisive and polarizing, and as such, they may portend a future where people of different backgrounds and beliefs are not seen as equals.

However, the original Star Trek series showed that diversity and inclusion can be strengths rather than weaknesses, and the show's progressive and inclusive themes provided a platform for discussing issues related to civil rights, gender equality, and anti-war sentiment that were particularly relevant during the late 1960s. As such, Star Trek can serve as an important reminder that progress, tolerance, and inclusivity are all possible, no matter how challenging the times may be. Whether these elements will be part of America's future remains to be seen.

Works Cited

Dyck, Ian. William Cobbett and Rural Popular Culture. Cambridge University Press, 1992.

Edensor, Tim. National Identity, Popular Culture and Everyday Life. Routledge, 2020.

Gonzalez, George A. Popular Culture as Art and Knowledge: A Critique of Authoritarian Neoliberalism and the Crisis of Democracy. Rowman & Littlefield, 2019.

MacKenzie, John M. Imperialism and Popular Culture. Vol. 2. Manchester University Press, 2017.

O'Meara, Jennifer. "Meme Girls versus Trump: Digitally Recycled Screen Dialogue as Political Discourse." The Velvet Light Trap 82 (2018): 28–42.

Prusa, Igor, and Matthew Brummer. "Myth, Fiction and Politics in the Age of Antiheroes: A Case Study of Donald Trump." Heroism Science 7.1 (2022): 5.