Warped Perspective

Examining American Exceptionalism, Media Propaganda, and Acceptance of American Military Actions in Star Trek

By: Azariah Journey, University of North Carolina Greensboro

In 1966, during the height of the Cold War, the first episode of Star Trek aired, and millions of Americans welcomed it into their homes. Over the years, Star Trek became a cornerstone of science fiction television. From the Cold War to Operation Iraqi Freedom, Star Trek has aired in parallel, highlighting the dominant political, social, and military standing of the United States. This is not a coincidence, and yet, over the decades, few academic works have explored the intersection of American nationalism, Star Trek, and the actions of the U.S. military. This paper aims to fill this gap by examining how narrative structures, characterizations, and plot developments within Star Trek have shaped perceptions of national identity and military power.

Drawing on key examples spanning decades of television history, this study will offer insights into the complex dynamics at play and how these cultural artifacts reflect and shape our broader cultural understandings of war and national identity. The connections between popular culture and public perception showcase Star Trek's influential role in shaping American identity, promoting acceptance of American military actions, and providing a platform for American exceptionalism.

Boldly Going: 

National American Exceptionalism and American Military Power in Star Trek Series

In the latter half of the 20th century, the United States found itself deeply entwined in global affairs, navigating the ideological landscape of the Cold War, participating in conflicts like the Korean and Vietnam Wars, and leading international efforts such as the Gulf War and Operation Iraqi Freedom. This era of geopolitical complexity significantly shaped the cultural and political backdrop against Star Trek. Star Trek, conceived by Gene Roddenberry during this turbulent period, is considered a foundational piece of American science fiction.

Gene Roddenberry said, “For me, science fiction is a way of thinking, a way of logic that bypasses a lot of nonsense. It allows people to look directly at important subjects."[1] Premiering on September 8th, 1966,[2] Star Trek’s narrative explores moral dilemmas, democratic values, and military operations within the framework of the Federation. The United Federation of Planets, or simply the Federation, is a prominent and influential supranational union spanning across the stars. It unites various planetary political entities under a centralized government established on the pillars of freedom, fairness, tranquility, righteousness, and advancement.[3] The Federation aims to promote universal rights for all sentient beings by fostering peaceful collaboration, scientific progress, space exploration, and mutual defense among its members. Members of the Federation possess unwavering confidence in their ability to attain these objectives by exchanging knowledge and resources and cultivating mutual respect and comprehension. The Federation in Star Trek is portrayed as a worldwide organization that embodies the collective goals of humanity. However, a more thorough analysis reveals a noticeable influence of American values, governance structures, and cultural norms within this intergalactic entity. Like the United Nations, where American sway is prominent, the Federation can be regarded as a fusion of varied cultures that function within a predominantly American-influenced framework. This complexity enhances the plot and reflects the real-world dynamics of American exceptionalism, nationalism, perceptions of national identity, and military power.[4]

The Star Trek franchise has expanded into several television series and movies. Despite this, the theme of navigating moral complexities, safeguarding the Federation, and depicting the challenges and potential pitfalls of unchecked exceptionalism remains a crucial element throughout each series within the franchise.

Star Trek: The Original Series

Star Trek: The Original Series aired on September 8, 1966.[5] The series followed the crew of the USS Enterprise and its five-year mission to “boldly go where no man had gone before.” Set in the twenty-third century, Captain James T. Kirk, played by William Shatner, was at the helm. Throughout the series, the crew of the Enterprise embarked on various missions and encountered a wide range of challenges and adventures. They faced hostile alien species, malfunctioning technology, and other dangers. Captain Kirk led the crew with a mix of diplomacy, ingenuity, and occasional military action. Michael Piller, an executive producer of Star Trek: The Next Generation, stated, “The early Star Trek original recipe was a very Kennedy-esque sort of mission to save the universe. Let’s get these guys out there and show them what democracy is and educate … and if they don’t do it the way we want to, we’ll hit a few and line them up and get them the way we want them.”[6] America's military power was also reflected in Federation starships encountered in Star Trek:The Original Series, which adopted famous American ship names, including Lexington, Constellation, and Intrepid, with Enterprise falling into the Constitution class.[7] The U.S.S stands for United Space Ship, a designation that traces back to the United States Navy. Drawing from his military background as a former pilot and second lieutenant in the United States Army Air Corps during World War II Gene Roddenberry shared that he was “fascinated by the Navy and particularly the story of the Enterprise, which at Midway really turned the tide in the whole war in our favor. [He’d] always been proud of that ship and wanted to use the name.”[8]  While the show tackled the social and political issues of the time, albeit through the lens of science fiction allegory, the dominant political, social, and military standing of the United States was front and center in the starship’s namesake. Topics such as racism, war, prejudice, and the nature of humanity allowed viewers to reflect on contemporary issues in a futuristic setting.[9]

Airing on October 6, 1967,[10] Star Trek: The Original Series, Season 2 Episode 4, "Mirror, Mirror," serves as a poignant allegory for American military power and exceptionalism, echoing the themes of unchecked ambition and the consequences of imperialism. In the episode, Captain Kirk, Dr. McCoy, Lieutenant Uhura, and Chief Engineer Scott are transported to a parallel universe due to an ion storm disrupting their transporters. In this parallel universe, the Terran Empire was in stark contrast to the ideals of the Federation. The Terran Empire is characterized by a brutal and militaristic government where violence and cruelty are not only accepted but glorified as virtues. Like the totalitarian regimes of Cuba and Vietnam, the portrayal of the Terran Empire depicted a system where power was consolidated in the hands of a privileged minority who were primarily military leaders. Within the framework of the Terran Empire, fundamental freedoms and individual rights are conspicuously absent. Citizens are mandated to pledge unwavering allegiance to the Empire, with any form of dissent being swiftly and harshly repressed. The Empire's aggressive and expansionist tendencies mirror historical narratives of American exceptionalism, where the belief in the superiority and rightness of America justifies aggressive actions and dominance over others. In the prime universe, the USS Enterprise serves as a vessel for exploration, diplomacy, and scientific discovery. In the mirror universe, the ship operates as a warship. Instead of seeking peaceful resolutions and fostering cooperation, the crew of the Terran Enterprise are conditioned to enforce the Empire's dominance through fear and intimidation.[11]

Throughout the episode, the crew grapples with the moral implications of their actions. This is shown by individuals in the Terran Empire using the Nazi salute as a form of greeting and the prominent idea that the extermination of planets is acceptable to further one’s cause. After a series of tense negotiations and confrontations, the crew of the USS Enterprise Prime convinces their counterparts that the oppressive tactics of the Terran Empire are unsustainable and ultimately self-destructive. By appealing to their sense of reason and morality, they persuade the alternate Spock to use his influence to enact reforms within the Terran Empire.

In the final scene, as Kirk and his team are beamed back to their universe, they reflect on their experiences in the parallel universe. Each acknowledges the importance of their experience as it serves as a reminder of the values they hold dear, such as compassion, cooperation, and the pursuit of knowledge. This was a sentiment Americans knew quite well due to President Kennedy's commencement speech in 1963 at American University, where he urged Americans to reexamine Cold War stereotypes and boldly called for a strategy of peace that would make the world a safe place for diversity.[12]

The Vietnam War dragged on until 1975, and 1967 marked the second deadliest year of the war. The narrative structures, characterizations, and plot developments within Star Trek: The Original Series were pivotal in shaping perceptions of national identity and military actions during the Vietnam War, illustrating American exceptionalism. The United Federation of Planets stood in stark contrast to the oppressive Terran Empire, as America stood apart from Vietnam and Cuba. In 1967, the same year "Mirror Mirror" aired, B-52 planes were ordered to attack North Vietnam to subdue them.[13] Although not all Americans might have been aware of it, the episode emphasized that defeating communism through American foreign policies and interventions was aimed at making the world a safer place.

Star Trek: The Original Series (TOS) ended on June 3, 1969, after airing for three seasons.[14] Despite its relatively short original run, it became a cult classic and laid the foundation for the Star Trek franchise that followed.

The Next Generation

Star Trek: The Next Generation (TNG) aired on September 28th, 1987, as the second installment of the Star Trek franchise.[15] The show's unique take on political themes marked a departure from the original series, influenced by the production's unique cultural and geopolitical circumstances. Set approximately a century after the adventures of Captain Kirk and the crew of the USS Enterprise, TNG takes place in the twenty-fourth century.[16] The series followed the crew of the USS Enterprise-D, a Galaxy-class starship, on their voyage to explore new worlds and civilizations. While TOS portrayed the Federation as flawed and nuanced, TNG presented it as a morally upright and unified entity, exploring themes of diplomacy and exploration within a utopian vision of the Federation. The two captains, James T. Kirk and Jean-Luc Picard embodied distinct leadership paradigms reflective of their respective series' political milieus. Kirk represented boldness and pragmatism, while Picard symbolized intellectual diplomacy and adherence to Federation principles. TNG also tackled issues of diversity and inclusion by featuring a more diverse crew and delving deeper into the social concerns of the time. Although both series engaged in political and social commentary, their respective approaches diverged because of the distinct historical and cultural contexts in which they were created.

One of the defining aspects of TNG was its science fiction concepts that reflected contemporary social and political issues, offering allegorical commentary on topics ranging from racism and prejudice to war and diplomacy. Episodes often delve into complex moral dilemmas, exploring themes such as the nature of humanity, the implications of artificial intelligence, the ethics of intervention in other cultures, and the pursuit of peace inside a diverse universe.

A notable instance of this concept is illustrated in season 4, episode 12, titled "The Wounded,” which aired on January 16, 1991.[17] This episode was shown during the offensive phase of the Gulf War when coalition airstrikes were carried out against Iraq. Operation Desert Storm, which was also referred to as the Gulf War, persisted from August 2, 1990, until February 28, 1991.[18]

In this episode, Captain Picard and the crew of the USS Enterprise are tasked with investigating a series of attacks on Cardassian ships near the Federation-Cardassian border. The situation escalates when it becomes apparent that the attacks are being carried out by a Starfleet vessel, the USS Phoenix, under the command of Captain Benjamin Maxwell.[19] Captain Maxwell is a decorated officer with a history of heroism in the war between the Federation and the Cardassians. However, he had become obsessed with the idea that the Cardassians were secretly rearming and preparing for another battle. He believed he was to stop them by any means necessary, even if it meant violating Starfleet orders and attacking Cardassian ships without provocation.

As the Enterprise investigates, tensions rise between Captain Maxwell and Captain Picard, who tries to prevent further bloodshed and maintain diplomatic relations with the Cardassians. Meanwhile, Chief O'Brien, who served under Captain Maxwell on the Phoenix, wrestles with the moral implications of his former Captain's actions. The episode delves into themes of loyalty, duty, and the consequences of past conflicts. It also explores the moral ambiguity of military actions and the challenges of maintaining peace in a volatile region of space. Ultimately, Captain Picard is able to convince Captain Maxwell to stand down, but only after a final confrontation with a Cardassian warship leaves casualties on both sides.

It is easy to draw parallels regarding how this episode emphasizes American nationalism and approval of the actions of the U.S. military. “The Wounded” explored themes of military conflict and diplomacy while real-world events unfolded in the Middle East. As Iraq's invasion of Kuwait triggered the Gulf War, Captain Maxwell's  unprovoked attacks on Cardassian ships without clear justification mirrored this aggression. Similarly, just as Operation Desert Shield sent coalition forces to deploy defensively to Saudi Arabia, Captain Picard's investigation of the attacks and efforts to prevent further escalation reflected a similar defensive stance. The offensive phase of the Gulf War, Operation Desert Storm, which was initiated with airstrikes against Iraq, mirrored the escalating tensions between the USS Phoenix and Cardassian forces, culminating in a final confrontation. Ultimately, the ceasefire ending the Gulf War paralleled Captain Picard's successful efforts to convince Captain Maxwell to stand down and prevent further bloodshed between the Federation and the Cardassians, highlighting the importance of diplomacy in resolving conflicts and maintaining peace in both the fictional universe of Star Trek and the real world.

Throughout "The Wounded," themes of loyalty, duty, and the consequences of past conflicts echo the broader geopolitical context of the Gulf War. The episode serves as a cautionary tale about the dangers of unchecked aggression and the importance of diplomacy in resolving conflicts and maintaining peace, mirroring the efforts of world leaders to navigate the complexities of the Gulf War.

Star Trek: Deep Space 9

Star Trek: Deep Space Nine (DS9) ran from January 3, 1993  to June 2, 1999, and was created by Rick Berman and Michael Piller.[20] Departing from the nomadic adventures of its predecessors, DS9 didn't just energetically embark on new voyages - it anchored itself in space. The DS9 space station was located near a strategically located wormhole used to travel to the Gamma Quadrant. The series follows the diverse inhabitants of the station, including Starfleet officers, Bajoran officials, and various alien species, as they navigate political intrigue, moral dilemmas, and existential threats. DS9 became a mirror to America’s involvement in the Gulf War as it explored the complex political situation of Bajor after the Cardassian occupation and moved towards joining the United Federation of Planets. During the early 1990s, the Gulf War emerged as a notable conflict in which the United States demonstrated its prowess as a global military force. It erupted due to Iraq's invasion of Kuwait, which posed a threat to regional stability and breached international laws.[21] Consequently, the United States, supported by a coalition of nations, intervened to defend these fundamental principles.

The US government saw the Gulf War as an opportunity to demonstrate its commitment to global security and its ability to project military power worldwide. This intervention was also meant to protect American interests in the region, including access to oil reserves and regional allies. The Gulf War was a complex conflict involving various military operations, including air strikes, ground offensives, and naval operations. The conflict lasted for several months and resulted in the defeat of Iraq's military forces. The intervention by the United States and its allies was viewed as a success, as it achieved its objectives of upholding international law and regional stability. Overall, the Gulf War was a significant moment in the history of the United States and its role as a global military power. It also highlighted the importance of international law and regional stability in maintaining global security.

Similarly, in DS9, the Federation's involvement in the Dominion War was reminiscent of America’s in the Gulf War. Initially committed to peaceful coexistence and diplomacy, the Federation found itself drawn into a conflict with the Dominion, a hostile alien power threatening its security and that of its allies.[22] DS9 examined the moral complexities and personal sacrifices inherent in wartime. The Bajorans are a humanoid species that developed advanced technology before Earth evolved and played a central role in the series’ narrative. Their home world, Bajor, is located near the Bajoran Wormhole, an essential gateway to the Gamma Quadrant that was inaccessible prior to Benjamin Sisco’s arrival on DS9.

Bajoran culture is inseparable from its spirituality, with the Prophets taking center stage as revered figures. The Prophets are considered protectors and guides, existing beyond the confines of linear time, and the Bajoran people seek their direction, wisdom, and solace through prayer, meditation, and religious rituals. Bajoran spirituality permeates every aspect of their society, including art, architecture, governance, and interpersonal relationships. The Kai holds the crucial role in interpreting the Prophets' will and guiding the Bajoran people's faith. Within Bajoran culture, the Kai is seen as a revered religious leader of the Bajorans, chosen by the Vedek Assembly for a lifetime term. The Kai's religious authority was second only to the Emissary of the Prophets and was seen as a symbol of strength and unity. The Kai played a crucial role in interpreting the Prophets' will, guiding the faith of the Bajoran people, and held considerable political influence within the Bajoran government. Bajoran spirituality is a profound and deeply ingrained aspect of their identity, providing unwavering comfort and guidance in times of joy and adversity.[23]

Unfortunately, the planet suffered a harrowing fifty-year occupation by the Cardassian Union, leaving scars that shaped Bajoran society. The occupation was a time of oppression and suffering, but it also showcased the indomitable spirit of the Bajorans. Cardassian forces conquered Bajor with ruthless tactics and exploited the planet's resources. Bajorans faced unspeakable horrors such as forced labor, arbitrary executions, and the relentless grind of daily existence under the occupation's rule. Yet, amidst the darkness, sparks of defiance ignited the flames of resistance. Figures like Major Kira Nerys emerged as beacons of hope, leading daring sabotages and rebelling against their oppressors. Although the occupation's end brought relief, its scars ran deep and became a part of the fabric of Bajoran society.

In Afghanistan, religion, particularly Islam, is deeply intertwined with the political and social fabric of the country. The Taliban, one of the major factions vying for control during the Afghan civil war and later the U.S. invasion, adhered to a strict interpretation of Sunni Islam.[24] Their rule was characterized by the imposition of Sharia law, which governed all aspects of life in areas under their control. The Taliban's religious ideology shaped their governance and their conflict with both domestic rivals and foreign forces. Additionally, the presence of foreign troops, primarily from Western countries like the United States, led to tensions with conservative religious elements in Afghanistan, further complicating the conflict.

The Bajoran Prophets exert significant influence on the governance and social structure of Bajor, not unlike the Taliban in Afghanistan and Saddam Hussein’s regime in Iraq. Similarly, religious ideologies played a crucial role in shaping governance and societal structures in Afghanistan and Iraq, with religious leaders and beliefs influencing politics and policies. The Taliban in Afghanistan followed a strict interpretation of Islam, imposing their version of Islamic law on citizens. Similarly, Saddam Hussein's regime in Iraq was built on a foundation of Sunni Islam, with Sunnis occupying the highest positions of power.[25]

In DS9, the Federation's presence, particularly the station's role as a hub for interstellar politics and trade, intersects with Bajoran religious beliefs and practices. Similarly, in Afghanistan and Iraq, the involvement of foreign powers, motivated by political, economic, and strategic interests, often intersects with religious dynamics in complex ways. The perception of Western intervention in predominantly Muslim countries raised questions about cultural imperialism and religious motivations, paralleling those themes. The Dominion War story structure is a prominent example, where the Federation, faced with conflict, undergoes a militarization process, prioritizing victory and asserting its values forcefully. This militaristic approach reflects a belief in the righteousness of the Federation's cause and its ability to impose its values on others through military means if necessary. Within the series, tensions arise between Starfleet's hierarchical command structure and the autonomy of its officers, showcasing the struggle between military exceptionalism and individual conscience.

Moreover, interactions with non-Federation species, such as the Cardassians, often reveal imperialistic attitudes and actions despite the Federation's advocacy for diplomacy and cooperation. Throughout DS9, Vedek Kai Winn aggressively achieves her political objectives, often resorting to manipulation and deception. She is a politically ambitious and devout leader of the Bajoran people. This behavior is part of a broader scheme by Winn to diminish the Federation's influence on Bajor while bolstering her position within the Bajoran religious hierarchy.

In "In the Hands of the Prophets," Season 1, Episode 20, involvement in violence becomes more direct with a bombing at the Bajoran school on Deep Space Nine. Though Winn herself does not execute the bombing, there is a strong implication of her complicity. Tensions escalated as Keiko's scientific teachings clashed with Winn's religious beliefs, causing unrest among the Bajoran community. The explosion at the school injures several individuals, intensifying the conflict on the station. Despite Winn's denial of involvement in the bombing, her rhetoric and actions contributed to an atmosphere of intolerance and extremism that culminated in the attack. Commander Sisko confronts Winn, accusing her of inciting the school controversy for support, leading to a heated exchange. Despite Winn's steadfast denial, Sisko delivers a passionate plea for collaboration between the Federation and Bajorans.

The portrayal of Vedek Winn in the show draws parallels to the tactics employed by the Taliban in several significant ways. Both exhibit a rigid interpretation of their respective beliefs and demonstrate a readiness to resort to violence to impose their ideologies. While Vedek Winn may not directly carry out violent acts, her implied complicity in the bombing at the Bajoran school reflects a pattern often observed in Taliban leadership, frequently linked to orchestrating such violent actions. Moreover, the depiction of the Bajoran Prophets underscores the theme of religious fanaticism and the propensity of individuals to employ violence in the name of advancing their beliefs, resonating with the historical practices of the Taliban, who have used violence to enforce their interpretation of Islam and suppress dissent.

DS9 examines the themes of American exceptionalism and military power through various narrative elements and character interactions. Salome Jens, an actor in DS9, shared that the narratives in the series were all very human stories, mirroring what you see as yourself and the world you live in—reflecting humanity and the mistakes we make and the mistakes we don’t make.[26] The Federation, as portrayed in the series, often assumes the role of moral authority in the galaxy, promoting principles of democracy, justice, and peace. However, this attitude sometimes becomes a perception of superiority and moral absolutism, mainly when dealing with other societies considered less enlightened. The Dominion War story arc is a significant example, where the Federation quickly and forcefully asserts its values to obtain a victory. This aggressive approach reflects a belief in the righteousness of the Federation's cause and its ability to impose its values on others through military means if necessary. DS9 emerges as a multifaceted exploration of themes relevant to its contemporary context, drawing parallels with real-world events such as the Gulf War and conflicts in Afghanistan and Iraq. The series delves into the complexities of American exceptionalism, military power, and the moral dilemmas inherent in times of conflict through its narrative elements and character interactions.

Enterprise

Enterprise was a prequel series set in the mid-twenty-second century, serving as a slingshot around the sun between the TOS and the rest of the franchise. The series followed the adventures of the starship Enterprise NX-01, commanded by Captain Jonathan Archer, as it explored deep space, encountered new alien species, and laid the groundwork for the United Federation of Planets. Set approximately 100 years before the events of the TOS, Enterprise depicted humanity's first steps into interstellar exploration and the challenges they face in a volatile galaxy.[27]

Enterprise aired initially on the United Paramount Network from September 26, 2001, through May 13, 2005.[28] This was only fifteen days after the attacks on the World Trade Center on September 11, 2001. Scott Bakula, who played Captain Archer, stated, “Of course, our series was colored by 9/11 happening. We were shooting then, and that eventually took over the direction of our show in terms of mirroring that event and casting it into the studio and painting it with the Star Trek brush.”[29] As Bakula knew, the tragic toll of seven million lives lost on Earth to a Xindi attack resonated deeply with the anxieties and vulnerability experienced by many Americans following real-world catastrophic events.

Season 2, episode 26, "The Expanse” aired on May 21, 2003, just two months after the United States initiated military action in Iraq.[30] This action was driven by the mission to dismantle Iraqi weapons of mass destruction (WMD) and dismantle Saddam Hussein's authoritarian regime. Captain Archer's resolute declaration, "We didn't start this, but I'm damn well gonna finish it," resonated with the sentiments echoed by the words of President George Bush when he addressed the nation on March 17, 2003, just before invading Iraq. President Bush stated in his address,

The people of the United States and our friends and allies will not live at the mercy of an outlaw regime that threatens the peace with weapons of mass murder. We will meet that threat now, with our Army, Air Force, Navy, Coast Guard, and Marines, so that we do not have to meet it later with armies of firefighters and police and doctors on the streets of our cities. Now that conflict has come, the only way to limit its duration is to apply decisive force. And I assure you, this will not be a campaign of half measures, and we will accept no outcome but victory.[31]

Enterprise's third season marked a significant shift in tone as it transitioned towards a darker and more intense narrative landscape, echoing the prevailing mood among Americans in the post-9/11 era. This thematic evolution was underlined by a heightened emphasis on violence and conflict, reflecting the uncertainties and anxieties that permeated American society during that time. The Enterprise crew's relentless pursuit of the enigmatic Xindi, an alien race that harbored a profound hatred towards humanity, was at the narrative forefront. Faced with the ominous specter of a weapon capable of obliterating Earth and its inhabitants, Captain Archer and the crew embark on a mission to uncharted territories filled with a fierce determination to avenge the attack on Earth, much like how Americans responded with an unbreakable spirit in the aftermath of 9/11 and a mission to hold those responsible for the attack. This shared ideology between leaders of the US Government and the Starfleet Captain Archer, after a brutal attack, exemplified perceptions of American exceptionalism, national identity, and American military power.

At the heart of their mission lay the urgent need to neutralize a devastating weapon capable of annihilating humanity itself. This narrative mimicked real-world events, particularly the United States military intervention in Iraq under the pretext of eliminating weapons of mass destruction. As the Enterprise navigated treacherous territory and engaged in morally challenging encounters, viewers were confronted with themes of sacrifice, redemption, and the harsh realities of war. In the finale of Season 3, titled “Zero Hour," the crew managed to infiltrate the Xindi weapon and successfully sabotage it, preventing the destruction of Earth.[32] Like the invasion of Iraq, their victory came at a cost, with losses among the crew and significant damage to the Enterprise. This narrative trajectory not only mirrored the geopolitical landscape of the time but also gave the audience confidence that the war in Iraq could effectively prevent mass destruction.

In the first two episodes of Season 4 of Enterprise, "Storm Front Part 1" and "Storm Front Part 2," Captain Archer and his crew are sent back to 1944, at the height of World War II.[33] They find that the Temporal Cold War, a conflict involving various factions from different periods, resulted in a disruption of the original timeline, allowing the Nazis to gain control over much of the world. To restore the original timeline and prevent further alterations to history, Archer and his crew had to navigate through this dangerous reality, facing off against Nazi forces and collaborating with resistance fighters. Captain Archer's actions ultimately end the Temporal Cold War and set the timeline back into proper order.[34]

In the last scene, Archer and Agent Daniels are surrounded by images depicting the correct timeline. Some of these events occurred during the Star Trek era, such as the 1969 moon landing, the influential presence of President John F. Kennedy and his wife Jacqueline, the Civil Rights movement, and the administrations of Presidents Richard Nixon, Jimmy Carter, and Bill Clinton. Furthermore, the images capture other key figures, including British Prime Minister Margaret Thatcher and South African leader Nelson Mandela. Notably, a snapshot of the September 11th terrorist attack on New York's World Trade Center in 2001 is shown before an image of Osama bin Laden with a gun in his hand.[35]

This is a clear example of the show's overarching themes mirroring the prevailing political, social, and military climate of the United States. Showing these images reminds the viewers of their current experience. By shining Captain Archer in a positive light for destroying a weapon that could have killed all humanity, it allows viewers to see the actions of American troops in a good light throughout history. The air dates for the episodes mentioned above are another clear example of how Star Trek could shape the perceptions and emotions of its American audience. In doing so, the overarching themes effectively capture the prevailing political, social, and military climate of the United States.

Conclusion

In conclusion, this paper explored how the narrative structures, characterizations, and plot developments within the Star Trek franchise have shaped perceptions of American national identity and acceptance of military power. Through a thorough examination of episodes in multiple Star Trek series, this study offered meaningful insights into the complex dynamics of the franchise and their potential impact on our broader cultural understanding of war and national identity. This study illustrates the significance of such media in reflecting and shaping the perspectives on critical issues. The impact of Star Trek on our collective understanding of military power and national identity cannot be overstated.

The Original Series presented a future where humanity had reached the stars but where the same conflicts that existed on Earth had followed us into space. The series became pivotal in shaping perceptions of American exceptionalism, national identity, and approval of military actions during Vietnam by mirroring the difference between the United Federation of Planets and the Terran Empire. This presented viewers of the two groups in stark contrast, just as America stood apart from Vietnam and Cuba. The Next Generation further expanded on these themes, exploring the ethical dilemmas faced by those in positions of power and the importance of diplomacy and peaceful conflict resolution. Deep Space Nine critically examined American exceptionalism and militarization by drawing parallels with real-world events such as the Gulf War and conflicts in Afghanistan and Iraq. Enterprise was expertly crafted in response to the devastating aftermath of 9/11, with writers skillfully reflecting on Americans' fears and concerns during this turbulent time.

Overall, Star Trek provides an intersection between American nationalism and the approval of the actions of the U.S. military during war. In doing so, each of the series' narrative structures, characterizations, and plot developments were pivotal in shaping national perspectives during each series run.

Star Trek has had a significant impact on our cultural landscape by providing a platform for audiences to explore and examine the political, social, and military actions of the United States through the actions of Starfleet crews in the future. This has been made possible through its visionary storytelling and diverse cast of characters. Through an in-depth analysis of the intersection of American nationalism, Star Trek has played a significant role in shaping societal perspectives during periods of war. Each series provides narrative structures, characterizations, and plot developments that have impacted societal perspectives.

Star Trek is a cultural phenomenon that continues to influence and shape our society in profound ways. Its enduring legacy serves as a testament to the power of storytelling to promote American exceptionalism through its political, social, and military narrative structures, characterizations, and plot developments during periods of war.

Photos from Left to Right:

1: Gene Roddenberry and Jerome Bixby, “Mirror, Mirror,” episode, Star Trek: The Original Series (Hollywood, CA: NBC, October 6, 1967).

2: Rick Berman and Michael Piller, Star Trek: Deep Space 9 (Paramount Domestic Television, January 3, 1993).

3: Manny Cotto, “Storm Front I & II,” episode, Enterprise (Hollywood, CA: UPN, October 15, 2004).

4:  Rick Berman and Brannon Braga, “Zero Hour,” episode, Enterprise (Los Angeles, CA: UPN, May 26, 2004).

5: Gene Roddenberry, Stuart Charno, and Cy Chermak, “The Wounded,” episode, Star Trek: The Next Generation (Hollywood, CA: CBS, January 16, 1991).

Notes

[1]  “Science Fiction’s Influences on Modern Society,” Unsolicited Press, September 17, 2015, https://www.unsolicitedpress.com/blog/science-fictions-influences-on-modern-society.

[2] Edward Gross and Mark Altman, Fifty-Year Mission: The Complete, Uncensored, Unauthorized Oral History of Star Trek: The First 25 Years (New York, New York: Thomas Dunne Books, 2016), 26.

[3] Paul Ruditis and Sandford Galden-Stone, The Star Trek Book: Strange New Worlds Boldly Explained (New York, NY: DK Publishing, 2021), 13-31.

[4] David Mack, Timothy M. Earls, and Gene Roddenberry, Star Trek: The Starfleet Survival Guide (New York:
Pocketbooks 2002).

[5] David Morgan, “The Best (and Worst) Original ‘Star Trek’ Episodes,” CBS News, August 6, 2017, https://www.cbsnews.com/pictures/the-best-and-worst-original-star-trek-episodes/.

[6] Edward Gross, Mark A. Altman, Fifty-Year Mission: The First 25 Years, 34.

[7] Edward Gross and Mark A. Altman, The Fifty-Year Mission: The Complete, Uncensored, Unauthorized Oral History Of Star Trek: The First 25 Years (New York: Thomas Dunne Books, 2016), 69. 

[8] Edward Gross, Mark A. Altman, Fifty-Year Mission: The First 25 Years, 34.

[9] Gene Roddenberry, Star Trek: The Original Series (Hollywood, CA: NBC, September 8, 1966).

[10] Gene Roddenberry and Jerome Bixby, “Mirror, Mirror,” episode, Star Trek: The Original Series (Hollywood, CA: NBC, October 6, 1967).

[11]  Gene Roddenberry and Jerome Bixby, “Mirror, Mirror,” episode, Star Trek: The Original Series (Hollywood, CA: NBC, October 6, 1967).

[12]  John F. Kennedy Presidential Library Staff, “Cuban Missile Crisis,” John F. Kennedy Presidential Library and Museum, April 12, 2024, https://www.jfklibrary.org/learn/about-jfk/jfk-in-history/cuban-missile-crisis.

[13] Editors, History.com, “Vietnam War.”

[14] Gene Roddenberry, Star Trek: The Original Series (Hollywood, CA: NBC, September 8, 1966).

[15] “Star Trek: The Next Generation,” Memory Alpha Fandom, accessed April 1, 2024, https://memory-alpha.fandom.com/wiki/Star_Trek:_The_Next_Generation.

[16]  Edward Gross and Mark A. Altman, The Fifty-Year Mission: The Next 25 Years: From The Next Generation to J. J. Abrams: The Complete, Uncensored, and Unauthorized Oral History of Star Trek (New York: St. Martin’s Griffin, 2016), 35-175.

[17]  Gene Roddenberry, Stuart Charno, and Cy Chermak, “The Wounded,” episode, Star Trek: The Next Generation (Hollywood, CA: CBS, January 16, 1991).

[18] Naval History and Heritage Command, The Gulf War 1990-1991 (Operation Desert Shield/ Desert Storm), accessed April 28, 2024, https://www.history.navy.mil/our-collections/art/exhibits/conflicts-and-operations/the-gulf-war-1990-1991--operation-desert-shield--desert-storm

[19] Gene Roddenberry, Stuart Charno, and Cy Chermak, “The Wounded,” episode, Star Trek: The Next Generation (Hollywood, CA: CBS, January 16, 1991).

[20]  “Star Trek: Deep Space Nine,” Memory Alpha Fandom, accessed April 1, 2024, https://memory-alpha.fandom.com/wiki/Star_Trek:_Deep_Space_Nine.

[21] “The Gulf War, 1991,” U.S. Department of State, accessed April 1, 2024, https://history.state.gov/milestones/1989-1992/gulf-war.

[22]  Rick Berman and Michael Piller, Star Trek: Deep Space 9 (Paramount Domestic Television, January 3, 1993).

[23]  Paul Ruditis and Sandford Galden-Stone, The Star Trek Book, 222-225.

[24] “National Counterterrorism Center: Groups,” National Counterterrorism Center | Groups, accessed March 12, 2024, https://www.dni.gov/nctc/groups/afghan_taliban.html.

[25] Biography.com Editors, ed., “Saddam Hussein - Death, Policies & Family,” The Biography.com, April 2, 2021, https://www.biography.com/political-figures/saddam-hussein.

[26] Edward Gross and Mark Altman, Fifty-Year Mission: The Complete, Uncensored, Unauthorized Oral History of Star Trek: The First 25 Years (New York, New York: Thomas Dunne Books, 2016), 400.

[27] Rick Berman and Michael Piller. Whole. Enterprise. Los Angeles, CA: UPN, September 26, 2001.

[28] Ibid.

[29] Bob Saget, “Bob Saget’s Here for You: Scott Bakula Shares Stories from Coming up in the New York Theatre to Quantum Leaping to Being a Star Trek Captain to Ncis’ing,” Apple Podcasts, September 20, 2021, https://podcasts.apple.com/us/podcast/scott-bakula-shares-stories-from-coming-up-in-the-new/id1504319251?i=1000535981434.

[30] Rick Berman and Brannon Braga, “The Expanse,” episode, Enterprise (Los Angeles, CA: UPN, May 21, 2003).

[31] “President Bush Addresses the Nation ,” National Archives and Records Administration, March 19, 2003, https://georgewbush-whitehouse.archives.gov/infocus/iraq/news/20030319-17.html.

[32] Rick Berman and Brannon Braga, “Zero Hour,” episode, Enterprise (Los Angeles, CA: UPN, May 26, 2004).

[33] Manny Cotto, “Storm Front I & II,” episode, Enterprise (Hollywood, CA: UPN, October 15, 2004).

[34] Ibid.

[35] Ibid.