Commentary by Gerald Griffin
I have fond memories of being a young lad hurrying home after school to catch a daily episode of Star Trek, which ran in syndication on a local network in the afternoons. At the time, all I remembered and absorbed from this series was that some episodes were more interesting than others. That show originally ran from 1966 through 1969.
As an adult, I became vaguely aware of its popular culture fame as it approached its 25th anniversary. This was also nearing the era where Star Trek: The Next Generation began its broadcast run (1987-1994). In many of the television features, highlighting the original series, I became aware of the subtle, underlying subtexts of the producer. For example, the racially integrated crewmembers, the first televised interracial kiss, the condemnation of totalitarian, military regimes (Klingons represented the Soviet Union), a myriad of worlds and life forms which somehow underscored the progressive ideas of “democracy,” “tolerance” and “diversity” and finally; of course, the landing party destabilizing the “evil” National Socialist themed world.*
A number of episodes of Star Trek: The Next Generation were even more overt about these thematic agendas; continued borrowing/embracing from alien/foreign cultures, hybridization with alien races as commonplace and with one episode prominently featuring a race/culture of normalized homosexuals.
What I was witnessing was the hijacking of a successful popular culture franchise to advance culturally destructive meta-messages. People caught up with the nostalgia for the franchise were being exposed to racially and culturally destructive propaganda. This is nothing new. When has the major media outlets not done so? Even All in the Family (1971-1979), featuring Carroll O’Connor, ridiculed the blue collar, White working class mindset of mainstream America.
Two recent debuts are Star Trek: Discovery and a Seth MacFarlane creation entitled, The Orville. The first is another attempt prolong the Star Trek franchise and continue to advance the same mundane “socially-responsible” themes: including an openly homosexual relationship between two main characters. The latter is conceived around the same themes as Star Trek: The Next Generation, but with subtle changes to protect it from copyright infringement. This show promises more of the same with a reptilian, androgynous character, whose single-gendered race reproduces with a homosexual union and the hatching of an egg. An episode devoted to this phenomenon and the subsequent hatching, advances the social prohibition of gender-typing.
Even the new Star Wars motion picture franchises have updated their casts to include a more ethnically diverse universe. For the first three (original) movies, Billy Dee Williams seemed to have been the only non-White human in their galaxy.
Considering the unrestrained invasion of European lands by Muslim, Third World immigrants, and the quiet invasion of the United States by both Muslims and Latin Americans, the legal and social prohibitions attached to the criticism of these policies helps them to continue unabated. Of course, only local inhabitants are even aware of the ramifications and consequences of these policies, because the major news media is either deliberately silent about the criminal or terrorist activities, or drowns us out with blatant lies about “tolerance,” and “diversity” that these “refugees” bring us.
Forgoing all the obvious commentary that can be added here about the cautionary instinct to reject what television and motion pictures subject the viewing public to, let us play closer attention to what is happening around us today, rather than what is promised to humanity in the 23rd and 24th centuries; for as things stand in what once were majority-White nations, there not be enough White people left to join Starfleet in the future. In fact, the utopian vision advanced by Gene Rodenberry is promised to look a great deal more like the polluted, dystopian future foreshadowed in Ridley Scott’s Bladerunner.
*This particular episode “Patterns of Force” (1968) was preceded by a Twilight Zone episode “He’s Alive” (1963); to attempt to nullify to the viewing public the actual acceptance and growth of the American Nazi Party/National Socialist White People’s Party, and the disabuse and reaffirmation of the National Socialist ideology.
About the Author: Gerald Griffin is the National Organizer of the NEW ORDER, with which he has been affiliated for over two decades.