Interstellar “Anti-Racism”

by Douglas Mercer

DID ANY COUNTRY CHANGE as much as America did from, say, 1966 to 1969? If you blinked, when you opened your eyes you were shocked to see “afros,” burning cities, Black fists in the air, a drugged-out dystopia — and you were told, against all common sense, that this was all a result of “love.”

Star Trek aired on Jew-run NBC from September 8, 1966, to June 3, 1969.

It was fully in tune with the perverted zeitgeist.

When the Black female actress playing the “communications officer” on the series thought Whitey was not giving her enough lines, she thought about quitting. Then no less a person (or no more of a person, really) than “Martin Luther” King called up the Black queen and told her to stay on; that it was important for White Americans to see a Black face on the deck of the ship of such a show, and that her staying would be important for Black people.

Fully aligned with the evil zeitgeist of the time, the show hammered away at the equality angle in ways subtle and unsubtle. The very premise of the show lent itself to such a conception, a kind of League of Nations mentality. The Universe was a blank slate, the producers evidently wanted us to think, and the old racial rivalries and racial conflict that had so marred the Earth’s history could be rectified with proper policies. That was the starting point. And the fact that men were sailing through the Universe many years in the future meant that Earth had resolved what the show’s creators wanted us to see as the intractable problems of the present: racism, war, and conflict. And now the marvelous multi-racial space travellers had to take this so-called harmonious message far and wide among the stars. And venturing forth into a wilderness of galaxies meant that there would be an infinite variety of “diversity” to come into accord with. This was the alleged “idealism” of the show, the best face of humanity as they claimed to perceive it. There is no human race, but the universal race of all intelligent beings. Specieism will be the new racism, and the new evil will need to be stamped out as thoroughly as the old one.

So they said as they spun their evil dreams. But actually they always had their calculating eyes on the social problems of the present.

Star Trek took some big risks by including racial minorities in the cast in such prominent roles. The series also tiptoed around offending the NBC sponsors. With the potential of a backlash from viewers in the southern United States — the hotbed of racism in the 1960s — Star Trek presented a future of racial equality. By doing so, Star Trek helped advance the cause of civil rights in 1960s America.

Whatever risks there were, they were more than willing to take them. Gene Roddenberry once wrote that “We will find it impossible to fear diversity and to enter the future at the same time.”

But this depends on who enters the future. And despite the naïve maunderings of Roddenberry, “diversity” is just as aggressive a force as “racism,” it’s just the other side of a single war. As the old saying goes, “diversity” really means chasing down the last White person.

Star Trek was born in the era of the civil rights movement and while it was a controversial topic in the 1960s, creator Gene Roddenberry and his team embraced Martin Luther King’s dream of a future when people (and aliens) were judged by the content of their character. This vision was personified by the cast itself, which included men and women of different ethnic backgrounds and nationalities working together as part of a united earth (and indeed a United Federation of Planets).

United Earth.

During the period that Star Trek originally aired, the Supreme Court struck down laws that banned interracial marriage. The episode “Plato’s Stepchildren” is recognized for featuring the first interracial kiss to be broadcast on American television. That is, it was a milestone in racial mixing and racial perversion. That, in fact, it was a Jew kissing a Black was surely lost on nearly every viewer.

In 1968 — and only one year after the US Supreme Court declared interracial marriage was legal — two of science fiction’s most enduring characters, Captain James T. Kirk and Lieutenant Nyota Uhura, kissed each other on Star Trek.

The kiss between Uhura and Kirk suggested that there was a future where these issues were not such a big deal, said Eric Deggans, national television critic for National Public Radio. The characters themselves were not freaking out because a black woman was kissing a white man. In this utopian-like future, we solved this issue. We’re beyond it. That was a wonderful message to send.

In “Patterns of Force” the antagonist says of Spock:

Note the sinister eyes and the malformed ears. Definitely an inferior race, note the low forehead, denoting stupidity.

The glaringly obvious joke on these alien “racists,” of course, is that “we all know” that Spock (played by an alien-looking Jewish actor, the late Leonard Nimoy) is a great “genius” — the audience doesn’t even have to think for more than half a second to “get it.”

In “The Balance of Terror” it is revealed that the new enemy, the Romulans, are related to the Vulcans. As a result of this a character begins to show “prejudice” against the Vulcan Spock. This draws the ire of the “idealists” of the Enterprise and meets with a swift rebuke from Captain Kirk.

And in their “anti-racist” showstopper, “Let This Be Your Last Battlefield,” the writers don’t hesitate to lay it on thick. “Martin Luther” King, after all, was counting on them to come through for him.

The distinguishing feature of both men was that they were half-white and half-black, split right down the middle. While the crew of the USS Enterprise did not seem to notice, the colors were reversed between them. Bele was white on the left and black on the right, while Lokai was white on the right and black on the left.

This was the most obvious, sorry, and naïve piece of popular “anti-racist” entertainment until “Ebony and Ivory” came along and supplanted it. The two men are the same but just the colors are rearranged on them. And so this minor distinction causes the two to be enemies. On one of the men’s planets the other color pattern was seen as inferior, and on that planet a “racially” motivated war had decimated the inhabitants. Oh, gosh-a-golly, Sally, can’t you see the parallels to the terrible and senseless racism we must all fight against here on Earth? Boo hoo.

When you are fighting the last battle in the war against White people, apparently there are no points for nuance.

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Leonard Nimoy remained true to his poison roots later in life. He said that Barack “No Drama” Obama was quite “Vulcan-like.”

In 1968, a teen magazine published a letter to Spock from a young girl who was of mixed race. She specifically asked for advice on this issue from Nimoy, as Spock was of mixed race too. It was 1968, after all, and just a year prior the Supreme Court in a calamitous decision had struck down all state laws that banned the kind of interracial abominations from which the young writer was (supposedly; can we trust New York publishers?) spawned. As I said, Nimoy was a Jew, and he thought the issue of promoting racial mixture important enough for him to pen an article in said teen magazine under the banner “Spock: Teenage Outcast.” Nimoy averred that Spock “saved himself” by “not letting prejudice get him down.”

Has evil ever come in such a seemingly unobjectionable form?

Leonard Simon Nimoy was born in Boston to Jewish immigrants from Iziaslav (present-day Ukraine). His parents left Iziaslav separately, his father first walking over the border into Poland while his mother and grandmother were smuggled out of the Soviet Union in a horse-drawn wagon by hiding under bales of hay. They reunited after arriving in the United States.

The Intruder is a 1962 American film starring William Shatner. It depicts the machinations of a White “racist” named Adam Cramer (portrayed by Shatner), who arrives in the fictitious small Southern town of Caxton in order to incite White townspeople to racial violence against Black townspeople and court-ordered “integration.” This is one of those “civil rights” movies designed to stir up hate of the “hateful” Southerners, those clear-eyed folk who knew in their hearts and in their heads that “civil rights” would mean no rights for them. In one scene, on the city’s courthouse steps Shatner’s character names the Jews as being behind the NAACP and behind desegregation, to a cheering throng of White townsmen. He says the Jews know that the quickest way to cripple a country a country is to mongrelize it, and that’s why they put everything into the issue of desegregation. The movie is pretty much one long cliché of noble long-suffering Negroes patiently asking for their rights, and fanatical small-minded White people with twisted faces bent on denying those rights. At one point a convoy of cars containing hooded White men drives through the Black part of town, as wide-eyed Negroes sit on their stoops in fear and amazement. In the end (of course) the “intruder” is shown to be a coward and is driven out of town.

William Shatner was born into a “conservative Jewish family.” All four of Shatner’s grandparents were Jewish immigrants, coming from Austria, Hungary, Ukraine and Lithuania.

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In the long and seemingly never-ending history of the Star Trek franchise, “anti-racism” continued to take center stage — starting with them famously putting Kunta Kinte on a space ship.

In the episode “The Drumhead,” an officer lies about his race (he fails to disclose that he is one quarter Romulan) and this leads the admiral to charge him with sabotage. Naturally the admiral is set straight by the end of the show.

“Beyond the Stars” and its real depiction of systemic racism and police brutality hits with a weight that is rare in the usually fantastical universe of Star Trek. The series was not founded with the goal of distracting viewers from hurt so much as it was made to bring attention to the very issues that plague the world each day.

That is, it was founded to be anti-White.

In another episode, the Enarans had in the past oppressed a group called the Regressives, but had erased this “holocaust” from their history; at least one Enaran decides to research this atrocity and concludes that “people should not forget the transgressions of the past.”

Got it?

In “Jonathan Archer’s Dream” humans uniting with other species is close to becoming a reality. But a “reactionary” group called Terra Prime tries to turn Earth into a human-only zone. (A different kind of Earth First, I suppose.) In the end, of course, the people of Terra Prime are exposed as “bigots” and Earth takes one more giant leap towards the “United Federation of Planets.”

This is Communism 101.

In “Nemesis,” a character called Chakotay laments that it is “hard to stop hating once you have been trained to hate.”

In “The Undiscovered Country,” Kirk and crew deal with their own “racism” toward Klingons. Spock and a “visionary Klingon martyr” finally break through the years of distrust and allow the undiscovered country of peace to break through among the races.

Thus Star Trek, like so much of the trash that emanates from Hollywood, is geared towards proscribing a love of one’s own among White people, any feeling of racial pride among White people, and any recognition that our future depends on a strong and united White race.

* * *

And now the thesis of the United Earth has reached its apotheosis. A Black hack writer of bad novels with a dash of discreet smut, “voting rights” advocate, Presidential aspirant, and candidate for Georgia governor, Stacey Abrams, in all her lumbering magnitude has appeared on the 8,942nd incarnation of Star Trek as (wait for it) the leader of a United Earth.

The gap-toothed baboon can be seen waltzing down the ramp of the Mother Ship dressed all in black, about as stately and regal as an erectus can get. The first thing she says is that Earth is ready to re-enter the Federation of Planets — apparently the bigots back home have been licked.

It is unclear whether or not she ate them.

“We came to this future to find the Federation in pieces, in quadrants and sections, planets and families divided, so much uncertainty and disconnection, but we have shown that we all are connected and we can overcome any problem as long as we are together.”

These galaxy-brained heroes are never at a loss to make things painfully obvious.

“These other perspectives are helping us all see clearly.”

Bad writing like this is one of America’s biggest exports.

Then she calls out a Black female general and thanks her for all she has done. Then she nods to another Black female and the two walk off together. As the two exit in all their Black glory, the ape-like heroine says “There are so many worlds out there, so many out there looking for connection.”

Earth is united, and Blacks rule it. That’ll be the day.

Did any country ever change so much as America did from, say, 2017 to 2020? If you blinked, when you opened your eyes you saw a Jew and Negro dystopia, you saw burning cities, Black criminals run amok, a Black criminal made into a holy martyr, and all the non-White races united in an insidious federation against the people who created America in the first place.

And look at your telescreen, comrade. You see a hulking Negress with corn-rowed hair greeting the representatives of the Universe.

And if you ever wonder how all this destruction of our beloved country happened so fast, just look at the fine print as the credits roll, on the series and on the films, and see the names of our the enemies.

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