First, it is worthwhile to consider science fiction’s relationship to imperialism, a relationship that has never been simple. While on the one hand science fiction “either ignore[s] the problems that exist between different human cultural groups or perpetuates the prejudices of the dominant culture,” presenting alien races in such a way as to assuage imperialist guilt or affirm imperialist desire, on the other hand science fiction has long been critical of the far-reaching arm of empire (Leggatt 109).

Within one of the most famous sf franchises, Star Trek, one can perceive a third strain, what can be termed “ambivalent imperialism” etched within the genre through the prime directive, the highest principle by which the Federation of Planets, and its militaristic-scientific arm, Starfleet, operates. The directive enjoins its representatives to refrain from intervening with the natural evolution of a species, even if that intervention could save that species from annihilation. Acting like an intergalactic disclaimer, the directive is less about protecting the aliens Starfleet encounters than it is about protecting Federation interests and its reputation, a reputation perceived in idealistic ways—cooperative, tolerant, humane, noble — in a future likewise presented idealistically, where humanity has overcome the problems and prejudices Leggat alludes to above. In this sense the prime directive serves as a counternarrative to the violent imperialist encounters of the past, but is no less marked by imperialist desire than the African land grab of the nineteenth century. Imperialist desire in the prime directive is coded through terms like “aid” and “protect,” the larger goal being to encourage planets to willingly join the Federation, and thus be drawn into the empire by choice, rather than force. Furthermore, by imposing strict guidelines as to how Starfleet technology may be shared, Federation superiority is maintained.

Episodes exploring the tension between the principle of the directive and the reality of interstellar relations abound in the franchise, and one of the most successful Star Trek films, First Contact, draws heavily from this tension. In one particular episode of Star Trek: The Next Generation, for example, a technologically inferior planet in danger of destruction from violent volcanic activity is saved through the Enterprise’s intervention, and the only alien, a child, that knows of the Enterprise is returned to her appropriate “state” of ignorance when her memories of the ship and Commander Data are removed. The status quo the directive reflects is preserved, and the Enterprise can revel in its role of intergalactic protector without any residual guilt for interfering with natural processes because the aliens do not know. In that regard, then, the prime directive operates like any purportedly benign imperialist principle: expressed in the language of disinterest (we do/do not do this for you, not for us), rather than desire (we do/do not do this for our gain, whatever the cost to you), such principles, whether they are called prime directives or the White Man’s Burden, have infamously supported imperialist practice in both the real world and the world of science fiction.

Hoagland and Sarwal, Science Fiction, Imperialism and the Third World: Essays on Postcolonial Literature and Film

hey guys anyone remember when t'pol like knealt down and stroked the palm of hoshis hand and looked deeply into her eyes and helped her get over her panic attack in the most lesbicious manner imaginable anyone remember that

I’m going to unlearn shame *bursts into tears and beats my head against a brick wall*

“He’s naughty. He’s not evil. He’s not all good. He’s sort of bad. You get to play him the way you role out of bed in the morning. Depends on which side of the bed you roll out of. And so that’s great fun. Now, just understand that the process of shooting especially a television show, and especially a television show like this, where these were more teleplays than they are like what a regular movie is: I would have big speeches and then a few lines and then another big speech and stuff like that. And so as somebody who always struggled learning lines and what have you, there’s a lot of tension attached to it as well. And then we get one or two rehearsals and then the camera starts rolling, and after about the third time if they don’t have it in the can, people would kind of start darting eyes.” — John de Lancie on portraying Q

Happy birthday, John de Lancie (b. 20th March 1948)

i love you star trek,,, i love you muppets,,, i love you star trek muppets

Make them straight adjacent for the homies

Hey Tumblr I heard you like Star Trek beverage containers… have some DS9 mugs and Tea-EarlGrey-Hot from my Star Trek 64 thing :3

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computer show me 10000000 photos of deanna troi

they're really funny to me (guy who loves to tease) (guy who's susceptible to teasing)

“Be Gay, Join Starfleet” revamp for Pride Month!

we're thick as thieves you know?

obsessed w this

Inspired by @spacefroggity post here

her day was going so well...

Star Trek: Deep Space Nine; 7.26 What You Leave Behind | 4.03 The Visitor | ID in ALT

I need someone to draw the entire DS9 crew having a very emotional discussion about whether ACAB includes Odo or not.

Kira is in agony and looks like she's about to have a mental breakdown.

Someone stands up up from the back and shouts a very clear "YES."

It's Odo.