Small-town Star Trek museum teaches American cultural history, limits of fan fair use in copyright law

I have the con at the Star Trek Original Series Set Tour, Ticonderoga, N.Y., Oct. 2025
(all photos RJ Peltz-Steele CC BY-NC-SA 4.0)

The sleepy town of Ticonderoga, nestled between Lake Champlain and Lake George in upstate New York just south of the Adirondacks, is the unexpected home of a treasure of American history. 

I don't mean the historic Fort Ticonderoga of the American revolutionary era. 

The Star Trek Original Series Set Tour offers visitors an incomparable experience in television history and a lesson in intellectual property law along the way.

Though the transporter was conceived to save money on
prop shots of shuttle landings, it still cost (1966) $600
per effect per person. That's one reason why red shirts
didn't beam down unless they had, let's say, business on
the planet. Regular-cast shots could be recycled. The
platform circles were made with glass from old spotlights.
It's wild to see close up how clever prop crew were with
what they had on hand.

Star Trek in a Small Town 

I've written many times about the relevance of Star Trek to American law and public policy from the civil rights era to today. The Set Tour is the passion project of Star Trek superfan and Ticonderoga native James Cawley, an Elvis impersonator by trade. Cawley is someone who deeply appreciates Trek's cultural importance and has played a role in ensuring that the franchise survives and lives up to its legacy.

Inside the inconspicuous shell of a former Family Dollar in downtown Ticonderoga, Cawley has recreated the Desilu Studios set of the original Star Trek series of the 1960s in astonishing detail, down to the illuminated, colorful "gumdrop" buttons of starship Enterprise control panels.

Little survived from the original 1960s set. At that time, creators still thought about television productions as one-off broadcasts. Syndication was known, but shows were not yet designed for it. Moreover, few critics would have picked Star Trek, a curious experiment in sending Wagon Train to space, as a show that would stand the test of time. 

In fact, Star Trek's perceived ephemerality became a challenge in reconstructing the set, a Set Tour guide explained. The original series had no script supervisor in charge of continuity, mostly because no one expected viewers would see a Star Trek episode for a second time to notice details. A prop that was a scary alien computer in one episode was gently repurposed to be an Enterprise control system in another. Budgets were thin, too, so prop supervisors were ingenious recyclers.

Cawley long collected the few artifacts and set fragments that remained. In the early 1990s, he worked his way into an assistantship with legendary costume designer William Ware Theiss, then working on Star Trek's reincarnation in The Next Generation. Theiss had, and gave to Cawley, discarded blueprints of the 1960s set, as well as original series uniform patterns. Cawley found his calling and embarked on recreation of the set with excruciating attention to detail.

Sickbay: My guide was terrific, knowledgeable and full of lore.
Here the medical scanner is CGI, but in the 1960s, a grip was
needed just to move the little white indicators up and down
from behind the wall.

A Golden Age of Fan Fiction 

Homage to the past, though, was not Cawley's sole design. In the early 20-aughts, he became the founding producer and "Captain Kirk" star of a Star Trek fan production, New Voyages, later known as Star Trek: Phase II. The highly regarded fan franchise published online 10 episodes from 2004 to 2016, and many original series talents contributed to the show, such as writer David Gerrold and actors George Takei (Hikaru Sulu), Walter Koenig (Pavel Chekov), and Grace Lee Whitney (Janice Rand).

That's where things get interesting from the intellectual property perspective.

Star Trek brand owners Paramount, CBS, and Viacom—their corporate relationships shifted over the years—had mixed feelings about Star Trek fan productions. There were many, though none besides New Voyages had fixed sets.

When Star Trek's popularity waned, fan fiction kept the franchise alive in public imagination. As long as fan projects were not for profit, the corporations were content to look the other way, even striking an agreement at one time with New Voyages. But when Paramount, et al., were on the verge of a new Star Trek TV or film project, they tightened the reins.

The corporate equivocation, in tandem with a committed and creative fan base, allowed Star Trek fan fiction to thrive in a way that is uncommon in the American entertainment space. Nevertheless, corporate indulgence started to wane after J.J. Abrams took the helm of the 2009 film Star Trek and revitalized the franchise. 

 The recreation of Engineering is two stories high, as was the
original after it was augmented for Original Series season 2.
The warp core is about 12 feet deep but looks deeper
because of a forced-perspective design to fool the camera.

Copyright Showdown

Things came to a head in 2015. Alec Peters, an actor in Phase II, raised money and excitement around a new fan-film project, Star Trek: Axanar, teased by a compelling 2014 short, Prelude to Axanar (IMDb). With advances in technology, the production quality of fan films was by then quite good. Paramount meanwhile was closing in on 2016 release of a new feature film in the reboot universe, Star Trek Beyond, and a new TV series, Star Trek: Discovery, was slated for launch in 2017. In the last days of 2015, Paramount sued Peters and the Axanar project for copyright infringement.

The copyright case, and to a lesser extent the trademark case, on fan fiction is really open and shut. Profitable or not, the take-offs are not permissible without license by the rights-holder. There is a fuzzy line at the outer boundary of copyright, where protection of creative product gives way to "the scènes à faire doctrine." But it's not that fuzzy.

Law school learning on copyright impresses on students that eligible works must be "fixed in a tangible medium of expression." That does not mean, however, that only that which is committed to print or film is what is copyrighted.

Fictional facts and storylines also may come within copyright protection. Thus, the estate of Anne Rice can claim copyright over the story of a young vampire who shacks up with the master who turned him, adopts a vampire child, and later gives a tell-all interview. But the scènes à faire doctrine ensures that copyright does not remove mere tropes from the public domain. The Rice estate cannot claim copyright infringement in all stories about blood-sucking, undead creatures who cannot tolerate sunlight.

To put that in Star Trek terms, anyone is free to write a story about a human-led inter-species alliance of space-faring civilizations that explores the galaxy and maintains uneasy relations with warlike enemies. But the closer the author gets to a San Francisco-headquartered federation of planets with warp-drive starships, transporters, phasers, and emotion-averse characters with pointy ears, the more the risk of copyright infringement. The line is fuzzy, but it's not wide.

The problem for fan fiction always is that the stories fans want to tell are the stories that explore the boundaries of the established narrative, the existing fictional universe, and ideally, of the recognizable characters in it. That's exactly what copyright does not allow. 

Many scholars have argued for more expansive interpretation of fair use to allow for fan creativity in the presence of clear disclaimer. There's a whole book about the problem of fan fiction in historical and multi-national perspective by California Western Law Professor Aaron Schwabach. The last chapter of Schwabach's book is titled tellingly, "Fanfic: The New Voyages."

Archivist and professor emeritus in cinema studies at NYU, formerly at UCLA, Howard Besser made the case as to Star Trek in particular, besides other popular properties, such as Harry Potter, that the public commons should be larger. He called out corporate owners such as Viacom and Paramount for overreach with unjustifiably aggressive cease-and-desist letters.

But the fact and law remain, protection of fan work that plainly takes place in the same universe as copyrighted works, even when disclaiming ownership and avoiding recognizable names of fictional places and characters, and omitting trademarked titles, still is a non-starter. The analysis is of the totality. Nena may invoke Captain Kirk passingly in "99 Luftballons," but a fan film in the Star Trek universe treads too far.

The Treaty of Axanar 

It was no surprise, then, that the federal court in Paramount Pictures Corp. and CBS Studios, Inc. v. Axanar Productions, Inc. and Alec Peters refused the defendants' motion to dismiss in May 2016. The case over Axanar was careening toward a jury trial, the parties arguing heatedly over evidence and jury instructions, when suddenly, in the third week of January 2017, Paramount and Peters settled.

Out of the Axanar settlement came a remarkable new document, which articulated and still states the boundaries around what Paramount and CBS will tolerate in Star Trek fan fiction. The guidelines stated severe new limits, including:

• The duration of a fan production is limited to 15 minutes, or one story in two parts for 30 minutes, "with no additional seasons, episodes, parts, sequels or remakes."
• The work may not have "Star Trek" in the main title and must be subtitled, "A STAR TREK FAN PRODUCTION."
• No Star Trek content content may be used, and Star Trek-recognizable costumes and props must be official Star Trek merchandise.
• No creator or actor ever employed in a licensed Star Trek production may work on the project, and no one working on the project may be paid.
• A production must be non-commercial with a budget from fundraising limited to $50,000.

Described by fan fiction enthusiasts as "draconian," the new guidelines made impossible the production of projects fans had come to love. It seemed that no film such as Axanar could proceed. Serial projects such as Phase II had to call it quits. The golden age of streaming Star Trek fan fiction was over.

Prelude to Axanar
movie poster
(presumed ©; illustrative use)

Axanar Fal-Tor-Pan?

Yet, for better or worse, the Paramount-CBS guidelines were far from the last word on Axanar. Secret arbitration over money raised for Axanar followed the 2017 settlement. In 2023, Paramount sued Peters in California Superior Court in Los Angeles, alleging that he never stopped raising money for an Axanar film, and asking the court to affirm the outcome of the arbitration. 

Peters did not appear, and the court entered Paramount's desired order in February 2024. Rights-holder copyright consultant Jonathan Bailey, founder of CopyByte, wrote about the case for his Plagiarism Today. Fans follow developments around Peters and Axanar in the public Facebook group page, AxaMonitor.

Meanwhile, production on Axanar most definitely continued. Six days after Paramount had its way in court in Los Angeles, Axanar wrapped filming on its set, Jonathan Lane reported on his Fan Film Factor. Peters himself gives monthly updates on Axanar on YouTube. 

In the October 2025 Axanar update, posted on October 17, Peters reported on post-production progress on the latest installment of Axanar, to follow Prelude. He referenced the lawsuit, thereby suggesting that subsequent "episodes" (not "films") might comply with the Paramount-CBS guidelines. If that's what he meant, then a single episode Axanar cannot exceed 15 minutes, shorter than Prelude's 21 minutes, and there can be only two. Yet Peters described Prelude as mere "proof of concept." Confirming Paramount's 2015 fears, Peters said that Prelude was designed to demonstrate that a fan work could be of such high quality as to be technically indistinguishable from an official studio product.

The ultimate extent of Peters's fealty to the guidelines is unclear. I wonder whether he regards them indeed as mere "guidelines"—like the 1976 copyright fair use guidelines that, in my opinion, courts have too often misapplied as hard lines. In the October update, Peters talked about beta testing a new fundraising website. I wonder further whether he's exceeded the cap of the guidelines. He encouraged fan financial support at the Axanar website.

There was really only one corridor for every corridor shot.
Signs and wall fixtures could be changed, and it curved
(behind camera here) for an illusion of more space.

A New New Voyage

The Axanar debacle in 2016 left Cawley in an awkward spot. His one-of-a-kind set reconstruction had little remaining practical use for filming after Phase II folded. Yet adoring fans would bask in the extravagance of the work. He conceived of the Set Tour. Still, without official imprimatur, he would risk legal jeopardy by opening to the public. 

Cawley invited Paramount execs to Ticonderoga to have a look. No doubt, they were skeptical going in. But, at least as a Set Tour guide told the story, the execs were so impressed with Cawley's loving attention to detail that they agreed to license the Star Trek name. Thus, the Star Trek Original Series Set Tour is not, as I had first suspected, a trademark infringement flying under the radar in tiny Ticonderoga. Set Tour tour guides will not volunteer information about Phase II or other fan productions. Whether they're just playing it safe, or that was an agreement with Paramount, I do not know. But guides will answer questions about Phase II if asked.

The Star Trek Set Tour has a deceptively modest exterior.

To Cawley's credit, he always played ball with Star Trek owners. Remember, it was New Voyages that reached an express understanding with Paramount, before Axanar came along. Cawley came by the 1960s set plans honestly, by all accounts, while working for Theiss on the official franchise. And the Captain Kirk of eight New Voyages episodes even scored a cameo as a bridge officer in J.J. Abrams's Star Trek. The Set Tour has hosted original series cast members as guest tour guides. The original Captain Kirk, ninety-four-year-old William Shatner, is expected back in November 2025.

There is, by the way, a USS Ticonderoga in Star Trek, though accounts differ over whether the name is a nod to Cawley, American history, a real-life Ticonderoga, or all of the above. Five U.S. Navy ships have borne the name Ticonderoga, including an aircraft carrier that distinguished itself in World War II and the Vietnam War. In the 1970 epic war film Tora! Tora! Tora!, the Essex-class Ticonderoga served as a set for the slightly smaller Yorktown-class aircraft carrier Enterprise (CV-6, not the later, nuclear-powered Enterprise carrier built in 1961). A great many other Navy carriers lent their names to Star Trek starships, including the Lexington, Saratoga, and Yorktown in The Original Series.

I had a (phaser) blast of a good time at the Star Trek Original Set Tour earlier this month. On my way home from the American Society of Comparative Law annual conference in Montreal, walking through a wonderland of Gene Roddenberry optimism about humanity's future was a welcome antidote to Professor James Q. Whitman's gloomy prognosis for rule of law in the United States.

Set Tour visitors get a turn in the captain's chair amid Cawley's breathtaking recreation of the classic bridge of the starship Enterprise. Ironically in revolutionary-historical Ticonderoga, amid relics from an imaginary future, I've never felt more a part of American history.

(All photos RJ Peltz-Steele CC BY-NC-SA 4.0.)

The Set Tour has tons of artifacts, including ship models, props, and uniforms. Some of the props are recreations, but made so well that they were used in throwback, time-travel episodes, such as Deep Space Nine's 30th anniversary "Trials and Tribble-ations"—besides fan shows such as Phase II.

Case Western-Red Cross program to consider international law, teachings of 'Star Trek'

Star Trek's Gates McFadden greets a soldier at a USO event
in Bosnia and Herzegovina in 1996.
(Defense Department public domain image VIRIN 960303-A-6435A-009.)

A long time ago, at a law school far, far away (admitted metaphor malaprop), I wrote a symposium research piece on Star Trek's Prime Directive, as relative to the U.S. invasion of Afghanistan to dethrone the Taliban after September 11.

I concluded back in those halcyon days that the most valuable lesson of the Prime Directive is that its violation is inevitable.  The rule of non-interference in pre-warp cultures in the 23rd century speaks importantly to the virtues of cultural relativism.  But there come times when a moral society must choose between its sacred writ to respect independent social evolution and its commitment to the natural rights of sentient life.

I don't know what the chaos in Afghanistan today says about my conclusion then.  Maybe I was right, that we were justified in invading Afghanistan with our higher calling (bellum justum), but we royally screwed up the implementation (snafu ineptus).  Maybe balancing western rights and regional relativism was always fated to fail, an impossible integration of irreconcilable norms.  Maybe I was wrong, and we should have built a wall around Afghanistan, as some then advocated only partly apocryphally, and waited for an interstellar society to emerge.

A wise Ferengi once said, "The more things change, the more they stay the same."  It's 2021.  Afghanistan is in chaos.  The Taliban are in charge.  And a next, next generation of the Star Trek franchise is trying to help us make sense of our world.

On September 8, Case Western Reserve University Law School and the American Red Cross will feature Case Co-Dean Michael P. Scharf to discuss, in present context, his 1994 law review article, The Interstellar Relations of the Federation: International Law and Star Trek the Next Generation.  Here is the event description:

On May 4, 2020 (“Star Wars Day”), the American Red Cross hosted a widely attended webinar on “Learning the Law through Film: Star Wars and International Humanitarian Law.” Inspired by the huge success of this event, the Red Cross decided to celebrate Star Trek Day on Wednesday, Sept. 8, by asking the Case Western Reserve University School of Law Co-Dean Michael Scharf to host a multi-visual online presentation of his  law review article “The Interstellar Relations of the Federation: International Law and Star Trek the Next Generation.”

With four new Star Trek series currently streaming, and a new film in production, the franchise is as popular as ever. On the 55th anniversary of the broadcast of the first Star Trek episode, you are invited to join an exciting hour-long trek through international law to explore strange new worlds, seek out new life and new civilizations, and boldly go where no one has gone before!

In this lunch-hour presentation, Co-Dean Scharf will discuss current controversial issues in international law by comparing them to the interstellar law encountered by Captain Picard and the intrepid crew of the Enterprise in seven years of Star Trek: The Next Generation. The presentation covers everything from the law governing the use of force to human rights law, the law of the sea to international environmental law, and treaty interpretation to international arbitration.

The event will include an introduction by Christian Jorgensen, legal advisor of the American Red Cross’s national headquarters, and an interactive Q&A via chat.

Naturally, I cited Scharf in my 2003 article.  And we both cited the imaginative and exemplary work of Nova Southeastern Professors Paul Joseph and Sharon Carton.  This vein of research and pedagogy rendered me fortunate to meet Joseph before he passed away much too early, in 2003, and also to meet Professor Christine Corcos, a treasured colleague, collaborator, and expert in teaching law with popular culture.

Incidentally, "Star Trek Day" on September 8 marks, as the CWRU event description says, the first franchise broadcast in 1966.  But the more important date of consequence in the lore of the Prime Directive is April 5, First Contact Day.

While we're on the subject, check out this paean to Trek from WNYC's Brooke Gladstone. This is a reprise of a 2006 piece, honoring Gene Roddenbery's birthday, August 19, 1921, a century ago.

Can ‘Star Trek’ put the U back in –topia?

This weekend will see the premiere of the newest entrant in the Star Trek franchise, CBS’s Star Trek: Discovery (trailer).  Notwithstanding CBS’s dubious bid to build a new model for content delivery in CBS All Access—creative initiatives crushed by commercial imperatives is a tradition in Star Trek history—Discovery marks a worthwhile moment to take stock of where we are now as a global village, 51 years after the premiere of Gene Roddenberry’s groundbreaking Star Trek, now “The Original Series.”

Roddenberry’s vision was a utopian one.  It seems almost cliché now to recount the novel “enterprise” of a multi-national crew spreading humanist idealism throughout the galaxy.  Despite its military trappings, Star Fleet was tasked with exploration of the final frontier on behalf of a United Federation of Planets (UFP).  Star Trek represented all the good parts of cultural imperialism and mitigated all the bad with deep, moral self-reflection.

Martin-Green
(CC 2.0 Gage Skidmore 2016 via flickr)

It looks like Discovery will resonate in the Roddenberry tradition.  The series, which might vary perspective and setting across seasonal sub-arcs, opens with a strong black female lead in Sonequa Martin-Green (The Walking Dead’s Sasha) and a female captain of color in Michelle Yeoh (Crouching Tiger’s Yu).  Discovery takes place after humankind’s first forays into deep space, which were depicted a decade ago by Star Trek: Enterprise, but still before the adventures of James T. Kirk and crew in the 1960s Original Series and the current movie-reboot series.  The nascent UFP is in a cold war with the Klingon Empire.  This fictional era and the name of the starring ship, U.S.S. Discovery, suggest fealty to Roddenberry’s vision of a “wagon train to the stars.” 

But can that vision get traction in today’s world?

However much our multi-platform electronic environment has served up an embarrassing surfeit of science fiction, we remain awash in dystopian imaginings.  Disclaimer one, yes, I realize that dystopian fiction is not new; even 1984 dates to 1949.  Disclaimer two, let me be no hypocrite; I have devoured it all, from The Hunger Games to The Handmaid’s Tale, having just finished the latter’s s1 yesterday.  (Nick is going to save her, right? right?!)  Yet many a commentator has observed the peculiar resonance of dystopian fiction today, in a world in which hunger and poverty persist, the wealth gap widens, and our standard of living and expectation of leisure seem after all not to have skyrocketed in consonance with technological ingenuity.

There was a time after the Berlin Wall fell, in the 1990s amid perestroika and glasnost, that it seemed like we might be on an upward trajectory.  The turn of the century brought with it a cautious optimism.  Maybe the era of world war and nuclear nightmare could be put to bed, and humankind would rise from those ashes and turn at last to the business of life on, and beyond, earth.

Then 9-11 happened.  The world went back to war, and we’re still in it.  Our American streets fill with protests fueled by racial division.  An unprecedented humanitarian crisis tears at the seams of European socio-economic union.  The septuagenarian United Nations—real-world analog of the thinly veiled UFP—seems impotent to stop a threatened nuclear detonation in the atmosphere.  And oh yeah, the ice caps: they’re melting.

Inevitable dystopia seems the apt model to envision our future on earth.  Wherefore art thou, Discovery, into our world of social and political fracture?  Can we even recognize ourselves in utopian science fiction?

It bears remembering that the world to which Roddenberry first introduced Star Trek was itself no utopia.  The Original Series tendered commentary that might seem trite now—e.g., TV’s first interracial kiss between Kirk (Shatner) and bridge officer Uhuru (Nichelle Nichols), the “black on the ‘right’ side” racism of Let That Be Your Last Battlefield, the futile primitive conflict of A Private Little War.  But that commentary was sophisticated and controversial in its time.  Star Trek’s very proffer of earthbound east and west in common pursuit of human survival and space exploration was a calculated critique of Jim Crow, the space race, Vietnam, and the Cold War.  Star Trek’s utopian vision was launched amid the civil rights fire that forged our second national reconstruction.

So maybe now is exactly the time for Star Trek.  Maybe we need utopia now more than ever, precisely because it is so unfamiliar.

As Star Trek turned 50 in 2016, Sir Thomas More’s enigmatic Utopia turned 500.  More’s Utopia was a social critique, not a social blueprint.  Critique always has been the raison d’être of science fiction.  There is no utility in only imagining the future.  The endgame is to hold up that parallel world next to your own, to see how the two compare.

For Star Trek, the final frontier is not space.  The final frontier—the discovery—always has been us.

Star Trek's latest voyage to 'strange new worlds' charts a 'final frontier' evocatively close to home

"In Defense of Episodic TV," read the headline on a story by Associated Press journalist Ted Anthony last week about Star Trek: Strange New Worlds, Paramount's serialized prequel to Star Trek's 1960s Original Series.

Author of Chasing the Rising Sun (2007), the intriguing biography of a classic American song, Anthony lauded Strange New Worlds for what might seem like its mundanity (e.g., Miami Herald):

Members of the Enterprise crew on “Strange New Worlds” are living their lives. They’re doing their jobs, even when their jobs really suck—like when they lose one of their own or are under attack. Like us, they find themselves in different moods from episode to episode, from scene to scene. They’re silly one moment, crisp and efficient the next, emotional the next and then, maybe, silly all over again. It all feels more like the cadence of actual life than one of these deep dives into a single, relentless story arc.

I second Anthony's paean. Strange New Worlds is a peculiar joy. In its return to the episodic formula of the 20th century Original Series and Next Generation, and, indeed, a classic television formula that has given way to the predominance of the season arc in the streaming era, showrunners Akiva Goldsman and Henry Alonso Myers have reinvigorated the incomparable capacity of science fiction to comment critically on the real world through a veil of analogical fantasticism. Such was the original vision of Star Trek creator Gene Roddenberry (on this blog).

Strange New Worlds episode 5, "Spock Amock" (released June 2, 2022), beautifully exemplifies the episodic approach. (Plot details, but no story-end spoilers, follow.)

Paramount invested lavishly in Strange New Worlds, and it shows in elaborate sets and stunning special effects with epic space battles. "Spock Amock" subtly exhibits this investment, but action and suspense are not at the heart of the episode. Rather, "Spock Amock" is a deceptively low-key human interest story unfolding as the Enterprise crew go on shore leave. Frankly, such stories usually turn me off because, in the streaming era, they are the product of lesser writers seeking to fill time in unnecessarily multi-episode productions. That's not what's happening here.

This story by Myers and Robin Wasserman comprises three discrete lines. In one, Spock (Ethan Peck) and his fiancée T'Pring (Gia Sandhu) wrestle with a sometimes mildly comical Freaky Friday flip of consciousness; Number One (Rebecca Romijn) and Lt. Noonien-Singh (yes, she's related) (Christina Chong) investigate a ship disciplinary matter; and Captain Pike (Anson Mount) and Spock/T'Pring negotiate a treaty with frustratingly obstinate alien leaders. Without giving too much away, the striking theme that unifies all three story lines, in the end, is, simply, empathy. By interacting with the unknowable ways of other beings, every character is compelled to look inside her or his own mind, own character, and thereby to grow in the capacity to see the world from a different perspective.

The Enterprise never leaves space dock in "Spock Amock." Yet perhaps better than any other, the episode exemplifies her mission, to explore the strange new worlds of the final frontier. For it always has been true of Star Trek since its opening sequence first aired in 1966:

The final frontier is us.

See America in black and white

13th Amendment

With the imprimatur of federal law, today is National Freedom Day, celebrating the day that President Abraham Lincoln signed the joint congressional resolution proposing the 13th Amendment in 1865.  Congress passed the proposal the preceding day, and it was ratified on December 6, 1865.  Today also is the first day of African-American History Month.

With my comparative law class recently, I had the occasion to visit a classic treatment of race in Star Trek's original series.  We were studying "the perspective problem" in comparative research, which refers to the way a legal system (any social system) can look one way when studied by someone within it, and a different way when studied by an outside observer.

There's a scene in the 1969 episode "Let That Be Your Last Battlefield" (s3e15) that's been talked about for half a century even by social commentators outside science fiction and entertainment communities.  The theme of the episode is almost cliché insofar as it typifies the tendency of Star Trek creator Gene Roddenberry and 1960s showrunner Gene L. Coon to employ heavy-handed metaphor to effect social comment.  Still, the story is effective.

Gorshin with Lou Rawls in 1977
(Orange County Archives CC BY 2.0)

What cliché might have diminished was restored and then some by ferocious performances in Frank Gorshin (Bele) and Lou Antonio (Lokai).  Gorshin, who continued acting right up until his death in 2005, was already a well known villain to TV audiences in the 1960s, as Adam West Batman's Riddler.  Antonio had recently played chain-gang prisoner Koko in Cool Hand Luke (1967).  He followed up Star Trek with a four-decades-long career in TV directing that ranged from The Partridge Family and Rockford Files to legal classics Picket Fences, Boston Legal, and The Guardian, not to mention one West Wing.

The first scene below sets the stage; you only need about the first two minutes.  I'm sorry that CBS has labeled it inappropriate for children, so you have to open a new window to watch it.  I rather disagree; I recommend the clip especially for children, especially now, part of an essential diet of dialog about race and America.

The second scene below delivers the pièce de résistance.  I won't spoil it, in case it's new to you.

For social context, this Star Trek episode aired in January 1969.  Martin Luther King Jr. had been assassinated only nine months earlier.  While this episode aired, student protestors were occupying buildings at Brandeis University; they renamed them "Malcolm X University" and demanded the creation of an African-American studies department.  Stonewall, the moon landing, and Woodstock followed in the celebrated summer of '69.

Happy National Freedom Day.

'For the first time, we're seen as we should be seen,' Martin Luther King Jr. told Star Trek's 'Uhura'

Prepping the spring semester when classes start the day after an involuntary furlough is prone to put a particular professor perpetually a week behind.  So forgive me for belatedly marking Martin Luther King, Jr. Day, which fell this year on Monday, January 18. Or we can say this is a more timely commemoration of yesterday's World Day for African and Afrodescendant Culture.

Of all the things one could relate about the legendary Dr. King, Nichelle Nichols (IMDb, PBS), Star Trek's original Lt. Uhura, has the very best story.

That's from the 2011 documentary, Trek Nation (IMDb, Amazon).  She told the story also to the Television Academy Foundation in 2019.

Chag Pesach sameach, happy First Contact Day

Mosaic in Netherlands, reading, "בשמאלה עשר וכבוד"
("in her left hand riches and honor") (Proverbs 3:16),
showing "Kohanim hands."
(Kleuske via Wikimedia Commons CC BY-SA 3.0)

Passover periodically coincides with First Contact Day, as it does this year, on April 5, 2023.

Passover is a major Jewish holiday, thus moves with the lunisolar Hebrew calendar. The cause for celebration is not exclusive to Judaism, as the holiday marks the Israelite escape from slavery in Egypt. Passover was on April 5 most recently in 1985, 1993, and 2004, but it won't happen again until 2069.

April 5 is also First Contact Day, a delightful celebration from the fictional Star Trek universe marking the day that earthbound humans first learn they are not alone in the universe. Vulcans revealed, or will reveal, themselves to humans on April 5, 2063, so the holiday often is identified with the Vulcan hand gesture of fingers paired and separated in a "V."

There's more connection between the two holidays than an occasional overlap on the calendar. In 1967, Leonard Nimoy, the actor who first played Mr. Spock, the famous Vulcan of Star Trek lore, borrowed the hand gesture from his Jewish heritage.  The Take explained the origin:

[Nimoy] drew upon childhood memories of Jewish synagogue services he attended with his Yiddish-speaking grandfather. The V-shaped position is the shape of the Hebrew letter "shin," which is the representative letter of the word "Shaddai," a term for God, and is a gesture traditionally used by the Kohanim (Hebrew "priests"), Jews of priestly descent, during a blessing ceremony. It’s also the first letter of "Shalom," the Jewish word for hello, goodbye, and peace.

The "Vulcan salute" (🖖) earned emoji status in 2014. Usually accompanied by the utterance, "Live long and prosper," it's not so distant a cousin of shalom.

Thanks to attorney, and my long-ago TA, Kevin Hart for being the first to wish me a happy First Contact Day, and to my friend Professor Robert Steinbuch for reminding me of the Vulcan salute's Jewish heritage.

Chag Pesach sameach, and happy First Contact Day.

Report from Quarantine: Week 1

Since (and because) I returned from Africa via Jo'burg and Heathrow, my wife and I have been in self-quarantine.  Here is my self-absorbed, self-quarantine report, week 1.

What I'm Reading

Moshin Hamid, Exit West (2017) (Amazon).  Hamid is best known for his 2007 novel, The Reluctant Fundamentalist (Amazon), basis of the 2012 film.  This book offers an intimate character study of a couple who flees civil war in an anonymous homeland, as they experience displacement amid western cultures. I care for neither romances nor narrative demagoguery, but this book, colored with a shade of magic realism, is more complex than the former and more crafty than the latter. Thoroughly compelling recommendation from Dean Peltz-Steele.

Charles Serio, The Legend of the Blue Cloud (2019) (Amazon).  Shout out to my uncle, who authored this book.  London based, Charles Serio is an accomplished playwright and communication consultant.  His debut novel was the quasi-autobiographical The Lies I've Told (Amazon).  In this book, he fully embraces fiction, spinning the yarn of young adults in the American West who must combat an evil force that seeks to unleash itself on our earthly realm. The book might best be billed as a YA thriller, though its portrayal of the antagonist has a mature edge. Better than I could write, it's sometimes rough around the edges, but I was engaged to the end to find out what would happen to my heroes.

James D. Zirin, Plaintiff in Chief: A Portrait of Donald Trump in 3,500 Lawsuits (2019) (Amazon).  I started planning my Trump Litigation Seminar for fall 2020 before I knew this book was coming out.  My goal was to use Trump case stories as a vehicle to teach tort law and litigation skills.  Now I plan to assign this book, too, which adds a rich policy dimension to the subject.  What Zirin illustrates is frightening:  You be the judge of the President; what I find frightening is the sorry state of our justice system, for its vulnerability to exploitation by the ruthless.

Book of Judges (Bible Study Tools).  In my on-again-off-again flight from Africa, I admit, I lost the thread of my church's yearlong Bible-reading study.  But let's be honest, who hasn't lost the thread in Numbers?  I was back in the saddle for Joshua, and now, in Judges, Deborah has summoned Barak to the Palm.  No spoilers!

What I'm Watching

Toy Story 4 (2019) (IMDb).  It would have been hard to top Toy Story 3, and 4 does not.  That said, 4 is a well worthwhile frolic and welcome opportunity to see what became of our beloved characters after Andy.  Key and Peele are delightful additions to the cast as Ducky and Bunny, and Keanu Reeves is downright brilliant as Duke Caboom.  Yes, we Can-ada!

Star Trek: Picard s1 (2020) (CBS trailer, IMDb).  This worthy new entry in the history of the franchise shows Star Trek to be in good hands at CBS.  Patrick Stewart said he would not appear again as Jean-Luc Picard after Nemesis.  But even he could not resist the siren call of the pen of Akiva Goldsman and Michael Chabon, whose writing is inspired.  Make it so.

Avenue 5 s1 (2020) (HBO trailer, IMDb).  Not every joke lands, but those that do more than make up the difference.  Hugh Laurie is characteristically fabulous.  And I adore Nikki Amuka-Bird, who, as Rav Mulcair, steals every short scene she's in.  Fly safe, fly true.

Letterkenny s6 (2018) (IMDb).  I had tickets to the live show in Portland, Maine, in March: postponed indefinitely for coronavirus.  So I slowed my viewing to savor seasons 6 and 7.  Pitter-patter.

What I'm Eating

Crepelicious, Barrington, RI, USA.  A scrumptious ham, egg, and cheese crepe like this one could be yours for curbside pickup from locally owned Crepelicious.  Please, if you are in a position to do so, support your local restaurants and retail!

Whole Foods Market.  Guilty as charged.  In my defense, we're not breaking quarantine to go to the grocery store, which seems to me the weak link in the whole flatten-the-curve effort.

What I'm Drinking

Jamestown Coffee (Facebook).  Made in Ghana, fruit of my recent travels.  Smooth and tasty.

Highclere Castle Gin.  You watched the TV show and the movie; now try the gin.  A smooth London dry with a hint of lavender, it's made with botanicals from Highclere Garden and the imprimatur of real-life Lord and Lady Carnarvon.

What I'm Hoarding

We just received an aid package from my sister- and brother-in-law in Atlanta, where, apparently, this stuff grows on trees.  Before you get any ideas: My house is protected by Smith & Wesson.