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QUICK & DIRTY LINKS
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Officially STAR TREK, but some other great sites: TREK UNITED STEVE'S ST SITE TREK WEB MEMORY ALPHA
TREK CORE 79 JEWELS TREKKIEGUY HYPER TREK (Italian, but easily navigable.)
Officially WILLIAM SHATNER, his MY SPACE page, his ShatnerVision, and an annual Hollywood Charity Horse Show he hosts in California for a childrens' charity called AHEAD WITH HORSES
Officially BOSTON LEGAL, but this site BOSTON-LEGAL has extensive content including interviews, transcripts and videos.
For those with a slashy outlook on life: ALL YOUR TREK ARE BELONG TO US and an incredible K/S fanvid using a Nine In Nails song CLOSER (fanvid) at YouTube containing explicit lyrics. You must click on the CONFIRM button to view.
Where to go & when:
May 4-6th, 2007 in Minneapolis, Minnesota
July 6-8th, 2007 in Toronto, Ontario, Canada
July 20-22nd, 2007 at Cherry Hill, New Jersey
August 9-12th, 2007 in Las Vegas, Nevada
September 28-30th, 2007 in Sacremento, California
October 5-7th, 2007 in Chicago, Illinois
November 9-11th, 2007 at Secaucus, New Jersey
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Captain Kirk as the Neo-Classical ideal
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Imagine, if you will, that you are writing an episodic program regarding the pioneering exploration of the unlimited universe. This dangerous and vital mission is necessary to codify not only the limits of human knowledge, but the limits of human endeavor. Your crew will consist of 400 odd members, each having successfully completed textbook training. How can scholastic training be sufficient for every eventuality when dealing with the unknown? What characteristics would be required of the leader? Who would you follow and why? Who would be his friends? Would he be able to have and sustain friendships? Does vulnerability equate weakness?
It is these tantalizing questions and many others that have led me to examine each of the Star Trek episodes. Not scientifically, not for the plausability of technology nor even to state whether Star Trek is good science fiction. My analysis covers the relationships, motivations and character development which makes Star Trek exceptional television and a model for social ideals. It is an exhausting exercise, demanding a critical eye of human behaviors, written dialogue, character interactions and interpreting the nuances of facial expressions and body gestures. No, I am not a sociologist nor am I attempting to state that my inferences are correct. I have engaged in social situations requiring study thereof, coupled with evaluations of art history and the very human need for hero figures and exemplary morals.
Captain James T Kirk is the epitome of the hero, albeit not in every episode of the series. As in Neo-Classical paintings, Kirk is the center, the pinnacle of the human ideal. He represents goodness, truth and beauty without overpreaching or by forcing his decisions on others. He must be everything humans desire to attain within ourselves. Depth of character, range of emotions and subtle flaws stress that he, and we, are capable of greatness, but never perfection. We must always strive to improve ourselves and it is only by comparison to others that we can perceive choices.
To be the center of any conflict, one must have at least two sides to display the variables for making decisions. This is easily represented by two seemingly contradictory figures, Doctor McCoy and Mr. Spock. I say seemingly because the figures are not wholly delineated. McCoy is the emotional and physical aspect of every decision. Humans cannot negate emotions and there are limitations to the human body. Slightly older, he also presents a more authoritative tone especially when combined with his medically titled status. He demands respect, for our bodies are fragile despite technology. Our emotions are an asset, but can also hinder our decisions. Somewhat jaded, he is a constant reminder of the need to balance drive and ambition with humility and professionalism. McCoy is not intimidated by Kirk, he is impressed with him, but knows Kirk is imperfect. McCoy is a constant, usually verbal, reminder to Kirk to keep the reality of his limitations in perspective.
Spock is the converse, the impartial and thinking persona which is creative and unexpected. He is meant to be close in age to the captain, but several story conventions distill a sense of immaturity in the character. Intense curiosity, a domain of the young. The need for solitude and the mating ritual, teenage angst. The repetitious reminders that Spock is only half Vulcan creates a desire to fit in to the social groups. "The Galileo Seven" episode shows Spock is unable to command loyalty and respect, despite his rank. There are many other points which refer to Spock's need to mature, that is, embrace his human emotions. By implying a younger figure, Kirk becomes a mentor to Spock. This is imperative as it jump starts their relationship. Spock has never encountered such a dynamic and personable figure as Kirk. The only way Spock can obtain leadership qualities and to make others like him, which Spock secretly desires, is by carefully examining Kirk in all his modes. The resulting friendship is unexpected and tantalizing and still remains a phenomenal success 40 years later.
These two aspects of the human condition vie for control, but when mediated properly, the result is an overwhelming synthesis of the best of humanity.
This Trinity, or Triad, in its limitations, possibilities and expectations is explored throughout many episodes. Sometimes it is the plot, more often is essential to the plot, but can always be found, though subtly, as a motivator for the characters and their decisions. The creative team behind Star Trek, Roddenberry, Jeffries, Fontana, Coon, etc., established the Trinity through various techniques. The storylines certainly emphasized these three figures in nearly every episode through dialogue  and interactions. We also have the mere physical presence of the figures, whether involved in the scene or not. Spock and McCoy have set positions to either side of the captina and often behind him. This is seen not just on the bridge, but on the planet-side visits in which the captian leads the team. As Kirk is seated in his command chair, his two friends often stand behind him or to his side. Physical proximity is a symbol for their friendship and also discloses the security and support they lend each other.
There is a preponderance of physical contact between these three and the use of contradictory words to hide or suggest intimate feelings. Spock and McCoy wear the blue science tunics to juxtapose against Kirk's command uniform. This is a little odd as Spock, being second-in-command, should also wear the command colors. Spock and McCoy are a little taller than Kirk and they have 'slight' body frames. The captain, on the other hand, is a well-muscled figure proving he is strong and physically capable of tackling his enemies while  never conveying narcissism.
Spock's black hair and McCoy's dark brown further contrasts against the captain's lighter pate. William Shatner's hair is naturally dark and I have not found any references to whether they lightened his hair intentionally, but they certainly used down-spots to achieve this effect as in these two photos. Kirk also has a healthy golden glow to his skin which opposes Spock's green hue and McCoy's pallor. This golden-boy aura creates a robust character which strengthens the notion of Kirk being a complete individual or as near to as humanity can achieve. The photo of Kirk in the green tunic, his hair nearly blonde from the strong down-spot, exemplifies the visual representation of the Trinity. Spock and McCoy mirror each other, as they are both backed by red-colored frames and have identical looks of concern. They appear on either side and slightly behind the captain as is their customary position whenever the Trinity are together through personal conflicts.
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Contrapasto Kirk
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It is between these two extremes, McCoy and Spock, which Kirk must stride. Sometimes he leans more one way than the other, always dependant on the situation's demands. This wavering between the two is more pronounced when McCoy and Spock bicker at each other as though vying for Kirk's very soul. Perhaps, it is not AS THOUGH as much as THEY ARE. This is true drama brought to fruition. Ah, if only there had been more scripts devoted to the Trinity, exploring their reasonings and outcomes!!! As it is, we must glean diamond dust from daunting coal piles, think Spock's Brain.
The subtleties of Kelley's portral of McCoy and Nimoy's Spock can almost be lost on the viewer whose only concern is the storyline. A good exercise is watching episodes without sound. The camera work, lighting and body language can define the characters, tugging out aspects of their personalities they would never voice.
An example which exemplifies this point is a moment during "The Carbomite Maneuver." After the Enterprise and her crew are given a ten-minute countdown to their demise, a Kirk full of anxiety and bundled nervousness is pacing the upper section of the bridge. It is noteworthy that the action is placed very close to the camera, giving us the expansive background with the concerned crew awaiting...something...some resolution from the Captain. It also visually separates Kirk and Spock, defining their relationship. Kirk and Spock are physically close and darkly lit which further distinguishes their characters as being psychologically closer than they may first appear to viewers.
Spock attempts to calm Kirk's agitation by saying, "Jim." This is a plea of intimacy as there is no reason for a break-down in procedures, especially in front of the watching crew members. The idea that Spock is willing to forgo rules, to expose his concern for Kirk and to offer himself, when he has nothing else to bring to the crisis, as we soon find out, is remarkable. It pushes forward the interdependance these two men are developing while still defining their differences. When calling Jim's name does not work, Spock begins to pace alongside his captain to relay his available companionship. Spock possibly believes that the captain needs a manifestation of loyalty or a display of solidarity to assuage the mounting helplessness. Kirk has no one else he can rely on, no one else Kirk feels is capable of an answer. Spock tells Kirk that they are checkmated, meaning that they have no hope. This infuriates and frustrates Kirk because not only is he left solely responsible for a resolution, but he sees Spock as being too weak to fight. Spock is not voicing ideal Starfleet behavior, nor for a crew member who is recounted repeatedly as being, "the best First Officer in the Fleet."
Kirk is disappointed in Spock who has not met Kirk's expectations. Spock instantly recognizes his failure and he attempts to apologize. Kirk has, earlier in this episode and will note in others, stated he does not accept apologies for behavior. He finds it belittling to both parties and it does not change the outcome. As Spock attempts to say, "I'm sorry," he falters under the wave of disppointment and anger emanating from Kirk. He changes to, "I regret that I can find no other logical alternative." It is important that Kirk hesitated for a moment, allowing Spock a chance to redeem himself by evincing something, anything. However, without no answer forthcoming, Kirk strides away to pace, alone, by the turbolift with no further comment. It is a visual slap to Spock for the captain to walk angrily away, especially since it takes place on the bridge in a dismissive and rebuffing tone that negates the close intimacy that Spock just proferred.
The camera lingers on Spock, as he silently berates himself for: disappointing his captain who was relying on him for an answer, disappointing Kirk who is fast becoming Spock's only friend, and disappointment in himself for not meeting the standards of Kirk who embodies the ideals of heroism and humanity. This is one of those pivitol moments that manages to draw these two characters together by accenting their different traits. And, this entire scene can be watched and still understood without dialogue! The camera could have held a moment longer on Spock, but it is still an eminently satisfying scene worthy of rewatching.
Spock mistakenly believes, on more than one occassion, that he is capable of leadership. And, on more than one occassion, he finds flaws within himself. It may not be fair for Spock to compare himself to Kirk, but each character has some figurehead which propels them to achieve their best. In Spock's case, he establishes Kirk as his living, breathing guidebook to captaincy. It is logically, the next promotion he is expecting and his model for success is Star Fleet's paragon.
It is also not the first time that Spock has, or will, hold authority figures in high regard. In "The Menagerie," Spock goes to great lengths to provide his former captain, Christopher Pike, with an essence of physical and emotional comfort. Spock also holds his father, Ambassador Sarek in high regards. So much so, that Spock does not disclose their relationship, because Spock sees himself as an embarassment and an affront to his father. This is touched on in "Journey to Babel" when Spock's mother reveals Spock's parentage. Could Spock be searching for some surrogate father figure? Perhaps, but it is more effective if Spock is looking for an older brother. Someone who would have protected him during the tortuous school days. Someone who would take on some of the anguish of being a half-breed, an outcast, alleviating the loneliness and segregation. Someone who shares his same desires, curiousity and intelligence. Someone who can understand and respect Spock for who he is and not attempt to change his character. Someone who delights in seeing Spock reveal himself, baby step by baby step. Of course, Kirk.
This brings me to two other great scenes in "The Carbomite Maneuver" which correlate McCoy and Kirk's relationship. The first takes place in the captain's quarters as he is being served by the yeoman. Disappointed in the change of his food menu to a dietary salad, Kirk believes McCoy should also have to eat the bland food. Kirk does not want to suffer alone and since his doctor recommended the change, the doctor should equally share in the consumption. Kirk states, "Bring some for the doctor, too." McCoy replies, "Oh, no. No. I never eat until the crew eats."
Kirk is obviously shocked at this statement as he has never considered, until now, that the crew may perceive his dining alone as snobbish partiality and preferential treatment. In subsequent episodes, the captain is seen eating in the lounge, sometimes with others, sometimes alone. The effort is made to appear open, available and without hubris. This is a tiny moment, but again, clearly exposes the differences between these two men. McCoy, the emotional and physical leg of the Trinity, understands how the crew will perceive self-imposed segregation by ranking officers and himself not wishing to offend the crew, takes special care to socialize.
He does not, however, go out of his way to confront his captain regarding this issue. He merely broaches the subject in an off-hand manner when the situation allows. This suggests that McCoy believed the captain would have already been aware of any perception of unfriendly behavior he was showing towards the crew, but had his own reasons for doing so. Or, McCoy figures the captain does have special perogatives as too much socialization would reveal the captain's flaws, leaving him open to disrespect and disloyalty. Regardless, the statement is made and Kirk changes his behavior accordingly. This instantaneous adjustment in his behavior is both a credit to Kirk being highly perceptive of his closest friends, although not of the crew in general, and to his respect for McCoy's insight and understanding.
The line between leadership and tyrant can be thin and tentative and McCoy watchdogs the captain to prevent any overbearing qualities. Sometimes the slightest remark can have profound effects, while at other times, arguing to the brink of fighting is necessary. This is effectively produced later in the same episode as these men clash over a distraught crewman. It is also interesting that this scene is an extension of the earlier one mentioned between Spock and Kirk. Still harboring anger and frustration, Kirk is vulnerable to any further entanglements of stress.
After a young and inexperienced helmsman/navigator, is relieved of duty due to his outburst of fear, McCoy insinuates Kirk is using poor judgement as regarding the crews' fitness. The Dr. sees Kirk as having promoted a crew member, who was not ready for the rigors of the new title. Pushing Lieutenant Bailey beyond his capability, is seen as dictatorial and self-promoting as, if Bailey is successful, it reflects well on the captain who promoted him.
McCoy places himself behind Kirk in order to talk quietly to his captain without the entire bridge crew overhearing. In many instances, the captain is unable or unwilling to leave the bridge due to a crisis. McCoy continues to needle Kirk regarding the crewman until Kirk loses his temper and shouts drawing the attention of the rest of the bridge crew. Realizing that he has exposed his anger, Kirk must control himself to remain in command lest the crew feel he is unfit.
McCoy is also taken back for having compelled the captain into revealing anger. McCoy didn't know the additional strain in Kirk brought on by Kirk's and Spock's confrontation a few moments before his arrival. Since McCoy IS aware how an emotionally weak captain can be perceived by the crew, he too, just as Spock a few moments before, feels compelled to apologize. He will do so in a way unlike Spock though. Spock's attempt was to verbalize an apology, the mental approach. McCoy, who is the emotional/physical component, chooses to be physical with the captain as a way to assuage fear, pacify the anger and provide support.
After a few intervening moments, McCoy becomes aware of Kirk's need to have moral support. He again stands behind Kirk in a supplicating manner and pats him lightly on the arm. Physical touch is very personal and conciliatory. McCoy does so openly while not expecting any return. He removes his hand quickly, placing his hands and body out of Kirk's reach to emphasize that he has no expectations of forgiveness for prodding the captain nor for embarassing him in front of the crew. It is another wonderful moment in the development of characters.
By interweaving these two, McCoy and Spock around the central focus, each is revealed as much as we are. The apex is Kirk, the middle ground, the tenuous high-wire act to which we strive. It is only by the emotional and mental halves sparring for control, that we can understand the hero that is the captain of the Enterprise and the man who is Kirk.
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Leadership Qualities
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Like art, we know good and bad leaders when we see or read about them. The people who make things happen. They go against the status quo, usually at great odds, to effect change. They are able to compel others to follow, without coercion. The qualities are elusive, oftentimes subjective, varying by degrees and not all may be present. Here are six standards:
Decisive. Not to say that they don't accept or even expect input, but they know the decision is ultimately theirs. This would also include their sense of responsibility and obligation.
Shown in every episode by Kirk, but also Sulu, Scott, McCoy and Spock. While the proactive decisions further the storyline, the decisions Kirk makes to NOT TAKE ACTION are more revelatory to the character. Frequently, Kirk does NOT pursue charges against officers for their breaches in conduct or command. Example: In "The Carbomite Maneuver," while McCoy is needling Kirk, Kirk says heatedly, "I'm ordering you to drop it..." McCoy does not, and Kirk does not pursue the offense. What is the point of saying it, if he will not utilize it? It is the only threat Kirk considers the most damaging and embarassing, since he holds his captaincy as precious. He knows and McCoy is aware, that Kirk would never physically harm McCoy. As Kirk holds any rank in the service as honorable and prestigious, the threat of taking that rank away is ominous. (McCoy does not and never will care about rank and often continues to berate Kirk.)
Idealistic. They value objectives. The more the leader personifies those ideals, the more followers they will obtain, otherwise, attainment will seem futile. They must not see themselves as perfect though, but always striving to reach perfection and self-improvement.
Everyone on board the Enterprise is idealistic to some extent. All manage to portray a hope for mankind and the future. The extent of those values are tested often and we do see varying degrees of morality. Kirk, however, as the pinnacle of man's endeavors to improve oneself, must be more idealistic than the others. Example: In "The Corbomite Maneuver," after vanquishing an alien which threatened the Enterprise with destruction, Kirk offers the alien help. Reprehensible to the rest of the crew, Sulu, McCoy and Spock react with alarm, but Kirk sees hope, not fatalism in his actions.
Dedication to attaining goals, regardless of pain or threat of death. This may be deemed courage or bravery. It is a measure of self-confidence.
This is observed, again in degrees, throughout the crew. Kirk often goes into battle, offering himself in lieu of his crew. Kirk is able to rely on his crew because they joined their captain to expand the realm of the known universe. Each has undergone rigorous training, they are capable in their tasks and understand the importance of allegiance to Starfleet and Kirk. Example: Mr. Sulu takes it upon himself to take command of Mr. Farrell's console during "The Corbomite Maneuver." Mr. Sulu was not asked and he repeats this action again with no expectation of recommendation.
Mentorship. They can and want to teach, guide, raise up or somehow improve their followers. The elevating standards must be incremental and attainable.
Most prominent in Kirk, but exists in many of the crew. It is more blatant in Kirk as he attempts to draw Spock from his self-imposed isolation. He helps Spock find the middle ground between Vulcanian and Human. Example: In "Charlie X," Kirk asks Spock to teach Charlie how to play chess and Kirk acts as mentor in several scenes. Each person is capable of learning, thereby bettering themselves, through another person's talents.
In teaching another a particular skill or trait, a vulnerability exists. Could the pupil excel beyond the teacher's capabilities? The mentor can be comfortable knowing talent takes experience and years of training to master skills. There is also the quality of natural gifts, which Kirk has, which allows him to mentor so often. Kirk possesses an innate aptitude for a broad range of skills which allows him to mentor often. His hubris should be great as his self-confidence is, but responsibility for command creates a stopcheck.
Gregarious. Humans are social creatures who effectively communicate through shared events, situations or interactions.
Scotty is not gregarious by nature. He loses himself in technical manuals, but reads those manuals in the lounge to conversely prove he is not aloof, merely that he prefers reading to social interactions. He will accomodates others, such as, during "The Trouble With Tribbles" episode wherein he drinks with Chekhov, but there is a lack of warmth. This implies that Scotty would not be an effective leader for long, despite his knack for decision-making and general expertise. Uhura and Checkhov are too friendly, lacking the ability to distinguish between threats and alliances.
Mr. Spock feigns sociable behaviors, but his sense of discomfort is apparent. He is a superlative officer and scientist, deftly handling many situations. Without an approachable demeanor, however, Spock does not garner respect. If Spock comes to accept his whole being, then he will be able to socialize without constraint.
Dr. McCoy mediates well with everyone, but has no desire for command. He makes no attempt to further his career through social networks which affords him to be blatant in his opinions. His zeal to prevent the crew from exposure to harm can be overbearing, intrusive and would eventually interfer with the Enterprise's mission.
Mr. Sulu is the nearest personification of Kirk. He is an excellent tactical officer, handles the helm quickly with a sense of premeditating Kirk's methods, engages with members of the crew in various activities, is reliable, takes initiative, is confident and is not afraid to express concerns openly. Kirk should see Sulu as an outstanding prospect for leadership, and does! Sulu went from being an astro-sciences department head in "Where No Man Has Gone Before" to being a bridge helmsman. He does not have enough experience to forsee certain situations, but we are confident he will accept and retain instruction.
This leaves Kirk who, as always, leverages the morale of the crew against his own need for solitude. Kirk is consistently on display to the 400 member crew, the amount of time he spends on the bridge, who he confers with, who he has sex with, lapses in physical and mental health. The need for privacy would be immense, but Kirk does not regret his socializations. On the contrary, he makes the most out of every situation, no matter how trivial. This shows he is more extroverted than most. He conveys warmth, respect and concern for ALL the crew regardless of their station or rank. This allows any crew member to feel the captain is aware of their presence, heightening their self-confidence and applying a measure of approachability to the captain. When Kirk speaks to anyone, they have his full attention, even if he does not look at them! Kirk is highly, highly respected by the crew. There are moments when Kirk's command is tested, but his natural social gifts allow him to diffuse situations without resorting to humiliation or scorn.
Charisma. This is an elusive characteristic. It is an overwhelming, often sexually confident attractiveness others perceive. It can be instilled in women and men regardless of the leader's sex. In my studies of literature and entertainment, I have never found a woman that was charismatic, but I have also only come across a handfull of such men with this potential. Considered an element of magnetism and self-confidence, it can infuse followers with devotion, fervor, identification and myth-building. The effects can include an intense desire to be in proximity of the individual, to touch them or even to 'own a part of them,' such as by claiming autographs, locks of hair, clothing, etc.
The identification factor can lead to proving common-place traits, elevation of one's own status to equate and debasement to humiliate or lower the status of the charismatic individual. This is easily seen in the various tabloid magazines. There is the propensity to endow virtues onto celebrities and conversely the need to expose and relish in their faults and foibles. I am not implying that celebrities are leaders or even charismatic, but humans seek leadership and nobility wherever they can find it and the public arena of stardom can lead to a general consensus of human virtues. It is a way of...voting for traits which the general populace either see in themselves or crave.
Kirk is the only Star Trek character that can be noted as having the exceptional trait of charisma. He uses it freely on women, aliens, friends and the crew. It is the element which allows him to withstand the charm of the ladies in "Mudd's Women." The ladies are supposedly charismatic, but since the trait is drug-induced it can be discounted. Charisma can lead to overconfidence and feelings of superiority, but those qualities are carefully checked by McCoy, Spock and the responsibility of command. Kirk's charisma is described in various episodes through dialogue, his ability to sway others, especially women, but is also shown visually.
There is a preponderance of characters touching Captain Kirk most of which is unnecessary and unlikely to the plot, characters, or even individual scenes. One must consider that the actors themselves could be consciously or unconsciously: investing their characters with the full weight of the captain's charismatic personality on them as they are his followers and friends, elevating the mythos of Kirk, expressing their individualized friendship and affection for the Kirk character, expressing their individualized friendship and affection for William Shatner the man, or unable to differentiate between William Shatner's charisma and Kirk's charisma.
(Harry Mudd/Leo Walsh, in Mudd's Women, must have a degree of charisma also, otherwise, he wouldn't be capable of captaining his ship with the ladies aboard. Or, it could be that Mudd/Walsh is so overwhelmed by his own intense desires to achieve wealth and titles to partake in the benefits of his means to acquiring prestige.)
So, how do we get to heroism? Well, let me begin by comparing known traits of two historical figures notable for their leadership.
Hitler Martin Luther King, Jr.
Declared himself Fuhrer Remained a Baptist minister
Surrounded by mility and/or bodyguards Surrounded by family and friends
Worked out of a bunker Worked out of hotels
Suicide Assassination
Attempted to conquer the world Tried to change the world
Military force Pacifist
Ostracization and genocide Understanding and brotherhood
Heinous crimes Nobel Peace Prize
Unconscionable legacy Revered
As one can see, although these two men were both leaders, only Martin Luther King, Jr. is heroic. Heroism is an altruistic and courageous attempt to help others. It can be within the public spectacle episodically or chronically. The heroic quality can even be the culmination of an entire private life. Although, personal risk of life is heroic, it is not the final criteria. Mother Theresa, a Roman Catholic nun, is an example of a woman self-sacrificing her life for the poor. With no expectation of endangerment, her abandonment of personal gain or comfort was heroic. Firemen, the police, lifeguards, EMT's and many other silent servants of our world expect to jeopardize their own life, everyday. We do consider them heroes and they are, but the commonplace sight of fire engines, squad cars and ambulances reduces their notoriety. It can also be true that paying individuals to perform these deeds is stigmatizing. Perhaps that is why we hold the sole, unexpected and untrained figure as the epitome of heroism.
Example: In 1982, airline Flight 90 crashed in the Potomac river off Washington, D.C. Roger Olian and Larry Skutnik, ordinary citizens, both jumped into the river, at different times, to assist passengers. Olian assisted many times before the news media arrived. Skutnik was the man who dove in to assist the woman too weak to grasp the rescue ropes. The water was freezing and seventy-eight passengers died. One of the passengers, Arland Williams, forgo the rescuers to help others escape and he in turn succumbed.
Our search for virtuous, heroic individuals expresses our societal and individual wants to heighten and excuse the human condition. It is easy for groups to confuse leadership with heroism and it takes the distancing of time for history to determine the values. With this in mind, we return to our television series Star Trek and the hero, Captain Kirk. Am I kidding? No! For exemplary leadership and the apotheosis of heroism, Captain Kirk embodies the criteria of man coalescing emotions, reason, our physical self, aesthetics and morals into the classical ideal: goodness, truth and beauty.
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Separating Fact from Fiction
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Why must we classify television as mere entertainment and not hold it against the the works of Shakespeare, Michaelangelo's Sistine Chapel or Handel's Messiah? Well, we can. Television, as any form of media, is an expression of values. It can elevate or denigrate, implore or teach and can reveal the human condition through its variety and contemporary fluctuations. Not all television programs are ideal, but neither is every book published nor art installation piece. One must pick and choose, but at least we have the option to choose.
The potential to expose billions of people to the same message is staggering. When we view a painting or hear a song, there is a limitation implied. The canvas hangs in a gallery, defined by scale, values and periods through which we must learn a message. The music ends, the next song is played and we must re-attune ourselves to the new melody, instruments and style. Television programs, however, can bes elected. The extent of the viewing shortened or lengthened at will, repeated and 'paused', as social or as intimate as we wish to convey. And, thanks to VCR's, Tivo, DVD players, etc., we can rewatch and rewatch the programs with which we derive the greatest pleasure, identification or insight.
Television as entertainment? I hope so, as subliminal lessons are learned easier with a laugh than the intonations of the educator, but we must not dismiss the capacity of programs to display and elicit the same humanistic values we see in The Spear Bearer by Polykleitos or Milton's Paradise Lost.
Science fiction technology, especially in the realm of Star Trek, regardless of how outlandish or novel has a propensity for fulfillment and realization. There is a presentiment to the props, science, ideas and theories which is universally understood AND attainable. Money is never seen and rarely discussed in ST and today we are seeing the switch from paper and metal to digital transactions with plastic keycards. The communicator presaged the cell phone AND the GPS system. Our recent adoption of lcds and plasmas are similar to the viewscreens seen on the bridge and above the duty stations. The ST preponderance and dependance on computers for information, voice and image identification, music and archiving is now visible in our homes, schools, autos and workplace.
Why then shouldn't the ideals, morals and expectations of a united humanity not be given as much merit? Why not, indeed?!
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12.2006 - 01.2007
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©2006
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