Star Trek: Marina Sirtis Reveals Why She Hasn't Watched 'Discovery'; Comicbook.com, September 22, 2018

Jamie Lovett, Comicbook.com; Star Trek: Marina Sirtis Reveals Why She Hasn't Watched 'Discovery'

"I actually think that Star Trek got it right in our show and in the original show because the shows were about something,” [Star Trek: The Next Generation's Marina Sirtis] said. “They weren’t just entertainment. They were little morality plays and that is what Star Trek lost after we were done. And it ought to go back to that.”

WHAT IF ‘STAR TREK’ WERE FREE? HOW THE STORIED SCI-FI FRANCHISE COULD INSPIRE COPYRIGHT REFORM; Newsweek, March 5, 2018

Andrew Whalen, Newsweek; 

WHAT IF ‘STAR TREK’ WERE FREE? HOW THE STORIED SCI-FI FRANCHISE COULD INSPIRE COPYRIGHT REFORM

"CBS and Paramount are unlikely to see things the same way. While Star Trek: Discovery press releases trumpet the “ideology and hope for the future that inspired a generation of dreamers and doers,” plans for streaming market domination depend upon exclusivity. The metaphor equating artistic expression and property has become so ingrained that companies regularly reduce their consumers to provisional licensees, subject to whatever controls the copyright holder decides upon, even long after the point of purchase.

“Star Trek stands on the shoulders of giants. It exists because they plundered some of the most interesting stories and memes of science fiction, just as all science fiction writers do, to tell their own story. And to argue that when they did it that was the legitimate progress of art and whenever anyone else does it, it's theft, is pretty self-serving and kind of obviously bullshit,” Doctorow said. “It's a ridiculous thing for a law to ban something that ancient and fundamental to how we experience art.”

Countering the monopoly exercised by copyright holders will require a broader social realignment, under which people come to understand art as a shared cultural endowment, rather than product—a mindset beyond capital."

Some white ‘Star Trek’ fans are unhappy about remake’s diversity; Washington Post, June 23, 2017

Travis M. Andrews, Washington Post; Some white ‘Star Trek’ fans are unhappy about remake’s diversity

"Indeed, the ‘Star Trek’ series, as Manu Saadia put it in the New Yorker, has always been about inclusion, diversity and breaking down human-made social barriers. Saadia wrote:

Each successive “Star Trek” cast has been like a model United Nations. Nichols’s black communications specialist worked alongside George Takei’s Japanese helmsman and Walter Koenig’s (admittedly campy) Russian navigator. Leonard Nimoy’s Spock was half-human, half-Vulcan, and he bore traces of the actor’s own upbringing in a poor Jewish neighborhood in Boston. The Vulcan hand greeting, for instance, which Nimoy invented, is the Hebrew letter shin, the symbol for the Shekhinah, a feminine aspect of the divine. The original series aired only a few years after the Cuban missile crisis, at the height of the Vietnam War and the space race, and its vision of a reconciled humanity was bold. Nichols, who considered leaving the show after the first season, has said that she was persuaded to stay on by Martin Luther King, Jr., who told her that he watched “Star Trek” with his wife and daughters.

This isn’t the first time an entry in the “Star Trek” series has come under fire for including ever more diverse characters. Just last year, the film “Star Trek Beyond” portrayed Sulu as a gay man. It was the first time the series featured an openly gay character, and some fans were furious."

"To Boldly Go"; robrogers.com, 9/9/16

Rob Rogers, robrogers.com; "To Boldly Go"

Why ‘Star Trek’ was so important to Martin Luther King Jr.; Washington Post, 9/8/16

Elahe Izadi, Washington Post; Why ‘Star Trek’ was so important to Martin Luther King Jr. :

"Then, she broke the news to him that she was quitting the show. His smile faded, Nichols recalled later, as he firmly told the actress that she couldn’t leave “Star Trek.”

“He said, ‘Don’t you understand what this man [Roddenberry] has achieved? For the first time on television, we will be seen as we should be seen every day, as intelligent, quality, beautiful people who can sing and dance, yes, but who can go into space, who can be lawyers and teachers, who can be professors — who are in this day, yet you don’t see it on television until now,'” Nichols recalled in a later interview.

He went on: “Gene Roddenberry has opened a door for the world to see us. If you leave, that door can be closed. Because, you see, your role is not a black role, it’s not a female role. He can fill it with anything, including an alien.”...

Nichols stayed on the show, and said she never regretted that life-altering decision. She went on to help NASA recruit new astronaut candidates, many of whom were women and people of color."

To Boldly Go Where No Fan Production Has Gone Before; Slate, 7/13/16

Marissa Martinelli, Slate; To Boldly Go Where No Fan Production Has Gone Before:

"The issues at the heart of the Axanar case are complex—in addition to copyright infringement, CBS and Paramount are accusing the Axanar team of profiting from the production by paying themselves salaries, among other things. Abrams, who directed 2009’s Star Trek and 2013’s Star Trek Into Darkness, promised during a fan event back in May that the lawsuit would be going away at the behest of Justin Lin, the Beyond director who has sided, surprisingly, with Axanar over Paramount. But despite Abrams’ promise, the lawsuit rages on, and in the meantime, other Trekkie filmmakers have had to adapt. Federation Rising, the planned sequel to Horizon, pulled the plug before fundraising had even started, and Star Trek: Renegades, the follow-up to Of Gods and Men that raised more than $132,000 on Indiegogo, has dropped all elements of Star Trek from the production and is now just called Renegades. (Amusingly, this transition seems to have involved only slight tweaks, with the Federation becoming the Confederation, Russ’ character Tuvok becoming Kovok, and so on.) Other projects are stuck in limbo, waiting to hear from CBS whether they can boldly go forth with production—or whether this really does spell the end of the golden age of Star Trek fan films.

Axanar may very well have crossed a line, and CBS and Paramount are, of course, entitled to protect their properties. But in the process, they have suffocated, intentionally or otherwise, a robust and long-standing fan-fiction tradition, one that has produced remarkable labors of love like Star Trek Continues, which meticulously recreated the look and feel of the 1960s show, and an hourlong stop-motion film made by a German fan in tribute to Enterprise—a project almost eight years in the making. It’s a tradition that gave us web series like Star Trek: Hidden Frontier, which was exploring same-sex relationships in Star Trek well before the canon was ready to give us a mainstream, openly gay character."

Sulu, “Star Trek” and queer sci-fi: LGBT diversity has been there all along—now it’s gone mainstream; Salon, 7/12/16

Scott Eric Kaufman, Salon; Sulu, “Star Trek” and queer sci-fi: LGBT diversity has been there all along—now it’s gone mainstream:

"Which is, of course, the most significant issue — how to represent historically underrepresented communities, especially when doing so within the confines of a franchise that, however progressive it was when originally produced, was still originally produced in America during the 1960s. Should members of the LGBTQ community be treated as deviations from the “norm” who require acceptance, or simply as people whose sexuality or gender identification is a fundamental, if incidental, fact of who they are?

Roberts clearly argues that it should be the latter, whereas Takei believes that the character of Sulu will be fundamentally altered — an “unfortunate” revision of his original conception — if he happens to homosexual in the new film. In this respect, Takei is out of step with how science fiction has evolved since Roddenberry first envisioned life aboard the Starship Enterprise, at least inasmuch as straightness is no longer considered the default among characters whose sexuality isn’t a central feature of the narrative."