Sorry I haven’t been posting — I’ve been kind of preoccupied lately. Anyway, Amazon has revealed the title of the third Department of Temporal Investigations e-novella, Shield of the Gods. That’s right, there’s a third one, something that probably won’t come as a surprise to readers of the second one, Time Lock, which had a sort of “To Be Continued” ending. I basically approached these novellas (at least the last two) as a trilogy. They collectively add up to the length of a novel, and I’ve structured them so that they could sort of work as a novel-length story in three parts, with each installment growing out of the events of the previous one. Although I don’t know if there’s any realistic prospect of them ever being collected that way, so don’t get your hopes up. Would be nice, though.
Mythology buffs may recognize the title as a reference to the Aegis — the name that Howard Weinstein coined in DC’s Trek comics for the employers of Gary Seven in TOS: “Assignment: Earth,” an organization that played a role in DTI: Watching the Clock as well as several of Greg Cox’s and Dayton Ward’s novels about Gary Seven and Roberta Lincoln. This isn’t a Gary/Roberta story, though; rather, I want to examine the Aegis from another perspective and address some questions I’ve wondered about.
According to Amazon, the release is scheduled for June 19, 2017. I’ll post more info as it becomes available. And hopefully I’ll have news about some other projects soon.
As visitors to my home page may have already noticed, I’ve learned that my upcoming novelette “Twilight’s Captives” will be appearing in the January/February 2017 issue of Analog Science Fiction and Fact. Since the October 2016 issue seems to be the current one on sale, I guess that means it should be out before the end of this year. That’s roughly the same time that my Star Trek: The Original Series novel The Face of the Unknown will be out, so that’ll be a big month for me.
Given that it’s been only six weeks since I sold the story, and given that it took nearly a year for my previous Analog story to see print, I’m surprised that it’s moving so fast. Two stories in Analog only 7 months apart is a new record for me; my previous record was 9 months between “The Hub of the Matter” and “Home is Where the Hub Is.” And that makes this only the second time I’ve had two Analog stories separated by under two years. Hopefully it won’t be the last.
I’ve already proofread the story’s galleys, which is how I know the publication date, so I know that this story will have an illustration — though I don’t know what it will look like or who the artist will be. I have my own design sketches for the featured aliens, which I’ll post with the story notes on publication, but Analog‘s artist may well take them in a different direction. This will be my fifth illustrated Analog story; the only ones without artwork are “The Hub of the Matter” and “Murder on the Cislunar Railroad” (although the former got a nifty illustration when it was republished in the Russian Esli magazine).
I just found out that The Trek Collective posted the cover to Department of Temporal Investigations: Time Lock on Friday:
It’s kind of abstract, but so were the previous covers. And this one’s based on an idea that’s hard to visualize. Another clock face would’ve been a bit repetitive, even though this is a story for which a ticking clock would be appropriate. Anyway, the blue is a nice change of pace from the red-orange of previous covers.
Here’s the blurb again:
The dedicated agents of the Federation Department of Temporal Investigations have their work cut out for them protecting the course of history from the dangers of time travel. But the galaxy is littered with artifacts that, in the wrong hands, could threaten reality. One of the DTI’s most crucial jobs is to track down these objects and lock them safely away in the Federation’s most secret and secure facility. As it happens, Agent Gariff Lucsly and his supervisor, DTI director Laarin Andos, are charged with handling a mysterious space-time portal device discovered by Starfleet. But this device turns out to be a Trojan horse, linking to a pocket dimension and a dangerous group of raiders determined to steal some of the most powerful temporal artifacts ever known…
Time Lock will be released about a week from now, around September 5. You can find preorder links here at Simon & Schuster’s Time Lock page, and international links in the Trek Collective page linked above.
I wasn’t planning on seeing Star Trek Beyond until Tuesday (discount day) due to my strained finances, but a fan was kind enough to make a PayPal donation as a gift to let me see the movie earlier (thanks, Linn), so I went yesterday. (Plus I needed groceries anyway, so an earlier trip was welcome.)
I generally agree with the consistently positive reactions the film has gotten. It is the best of the Bad Robot series to date (or the Kelvin Timeline, as it’s now been officially dubbed). I liked the first two films for the way they handled the characters, for J.J. Abrams’s good directorial work handling emotion and relationships, and for the superb casting — but they both had pretty major logic problems and plot holes, like Kirk’s ludicrously rapid promotion in the first film, the gratuitous Wrath of Khan callbacks in the second film, and the careless astrophysics and near-instantaneous interstellar travel in both films (justified by an implied time cut in the first film, but harder to reconcile in the second). I also wasn’t crazy about the totally unnecessary disaster porn in Into Darkness‘s climax, and I didn’t like how gray and gloomy Earth’s cities looked in the films. So I liked the films, but with reservations. In the case of Beyond, most of the problems of the previous two movies are absent, and there’s plenty of good stuff still there as well. With a different director (Justin Lin) and writers (Simon Pegg & Doug Jung), it has a different flavor and tone, and it’s one that works well, for the most part.
The first two films were meant as prequels, showing the early years of the TOS cast as they grew into the people we knew, or reasonable approximations. Beyond is the culmination of that process. The characters are now three years into the five-year mission, and they’re pretty much the mature versions of themselves at last. Chris Pine’s Kirk is more seasoned, more thoughtful. On the cusp of his 30th birthday, he’s no longer the delinquent renegade he was just five years earlier, but a seasoned commander, a Starfleet company man, serious and disciplined but with a bit of the old bad boy still peeking out occasionally — essentially just like his predecessor. Zachary Quinto’s Spock and Karl Urban’s McCoy finally get the extensive interaction they’ve lacked before, and it’s a classic Spock-McCoy interplay, albeit a bit more foulmouthed than would ever have been allowed 50 years ago. McCoy is put in a bit too much of an action-hero role at times (when did he ever show any piloting skill?), but it’s in service to keeping him and Spock together, and that’s long overdue. Spock’s romance with Zoe Saldana’s Uhura is downplayed, though not entirely absent, which allows Uhura to stand on her own as a protagonist; she handles herself well, carrying the brunt of the direct interaction with Idris Elba’s villain Krall, standing up to him, and gaining vital intelligence about his true identity and origins. Pegg’s Scotty also gets a good share of the spotlight, unsurprisingly, as he interacts with the guest alien Jaylah (Sofia Boutella), a striking and tough alien of unidentified species, and supports her through her character arc as she aligns herself with our heroes. Not surprising that these movies would prioritize cast members as prominent as Saldana and Pegg. Unfortunately, John Cho and the late Anton Yelchin are still basically wasted as Sulu and Chekov, never really given a chance to emerge from the background, which is particularly tragic given that this was Yelchin’s final turn in the role. Chekov is pretty much just there to follow orders and be comic relief, and he has even less of an arc than in the previous two movies. Sulu is given a bit more character depth as we learn that he has a husband and daughter on Starbase Yorktown, and we see his worry about them when we learn that Krall intends to attack Yorktown, but it’s a character arc that’s conveyed almost entirely without dialogue, relying purely on Cho’s silent reaction shots — and of course Cho is more than good enough to put volumes into those wordless looks, but still, guys, he’s probably the best actor in the whole damn cast (other than Yelchin — damn it, I’m getting teary-eyed), so give him something to do! (I wonder if there were more scripted lines that got cut because the studio was nervous about focusing too overtly on Sulu’s gay marriage.)
I liked the way the film compensated for the male-heavy core cast by featuring mostly women in the supporting cast. We still had Elba’s Krall as the main villain and Joe Taslim as his sidekick Manas (who was such a minor character that I didn’t even notice him as a presence until Jaylah established in dialogue that he was her nemesis), but we also had Boutella’s standout work as Jaylah; Shohreh Aghdashloo as the Yorktown commander (Commodore Paris!); Lydia Wilson as Kalara, an alien refugee playing a significant role in the first two acts; and Melissa Roxburgh in a small but important role as Ensign Syl, an alien crewmember with a special skill that Kirk cleverly takes advantage of.
Beyond also avoids a lot of the crazy science of the previous Abrams films. Warp travel actually seems to take time (and the new warp effect is utterly gorgeous, the first one that actually looks like it’s representing the warping of space, at least in a stylized way), there’s no transwarp beaming or super-healing Augment blood, and it’s essentially the first Star Trek screen work that’s ever handled alien languages and translations in a realistic way, with aliens either speaking their own languages, speaking accented English, or speaking in their own voices while a computer translation runs parallel, in Kalara’s case. This is what we were always supposed to assume was going on when we saw aliens seemingly speaking English, but now we actually see it shown literally, and it’s refreshing, if a bit distracting. I wouldn’t have minded, honestly, if they’d emulated The Undiscovered Country‘s Klingon courtroom scene and started out that way long enough to establish it, then transitioned to having Wilson just speak English. The science of Yorktown’s outwardly spherical artificial gravity, and the weirdness that results in the center of the field, is a bit fanciful, but no more so than artificial gravity in general, and it’s the basis of a really clever action sequence at the climax. Yorktown itself is a gorgeous setting; unlike the Earth cities in the Abrams-directed films, it’s bright and inviting enough that it actually looks like the Federation should look. (Although I wish it hadn’t been filmed in Dubai, a country that I gather is prone to rather atrocious human-rights violations toward emigrant workers. That hardly seems fitting.)
As for the action overall, I found it kind of meh. It was big and frenetic and everything, but sometimes hard to follow. It was definitely clever in a lot of ways, but the execution wasn’t always there. They did find an imaginatively novel way to destroy the Enterprise, but it gets a little tiresome that deflector shields almost never seem to work in the movies. I’m also not convinced by the claim that the E was unequipped for this kind of attack, given the dozens of point-defense phaser banks it was shown to have in the first couple of films. Most of all, the destruction of the Enterprise had no emotion to it, no pathos. I didn’t feel the loss like I did in The Search for Spock or Generations, because we weren’t shown the characters feeling the loss. The Enterprise wasn’t treated as a beautiful lady that we loved and hated to lose, but just as a vehicle that was abandoned once it was no longer useful. So it was a well-made sequence and all, but rather unengaging. The emotion just wasn’t there. Say what you like about Abrams as a director, but he always focuses on the emotion of an event, no matter how big and frenetic it is. That was missing here.
Now we get into the really spoilery stuff, since I’m going to talk about Krall’s backstory. I guessed pretty early on, as soon as we saw Krall changing appearance when he drained the crewmembers, that it would turn out he was a member of the Franklin crew who’d been changed into an alien. I feel the movie totally failed to explain just how that happened, or where the transformative technology came from. I guess it was something left behind by the previous inhabitants of Altamid, the warrior race that had built the superweapon (and I’m getting a little tired of Trek movies built around superweapons), but the exposition that would’ve tied this together seemed to be absent. As for Krall really being Balthazar Edison, an ex-MACO who couldn’t adjust to peacetime, I have mixed feelings. On the one hand, it’s kind of a classic TOS-style plot, with Kirk against another Starfleet captain who’s gone rogue — there’s a lot of Ron Tracey in Edison. I’ve even seen one person express the opinion that it covered similar themes to my novel Rise of the Federation: A Choice of Futures, though I was actually reminded more of the debates in Into Darkness about Marcus’s warmongering view of Starfleet versus the more peaceful approach Spock advocated. And the tie-ins to Enterprise-era history were interesting. The bit about the MACOs being dissolved and folded into Starfleet meshed comfortably with my own books, although the uniform design is quite different from what I came up with. (I’m not worried about inconsistencies with ROTF, though; Simon Pegg has recently said that the Kelvin Timeline was altered in a way that allows its history to diverge before Nero’s arrival in 2233 rather than after, which is basically a way of saying that storytellers in the respective universes can operate independently of one another from now on.)
But I’m disappointed, because the advance word suggested that the story was going to be about how alien cultures perceived the Federation’s expansionism as cultural imperialism — a post-colonial take on Trek’s ideas, as filtered through the perspective of the Taiwanese-born Justin Lin. As a student of world history and frontiers in particular, I would’ve been very interested in a story along those lines, and looking forward to seeing that new perspective. But it turns out that was essentially all just a fakeout, or else a plan that was changed by the time the film was finalized. This was really just another story about a rogue Starfleet officer turning on Starfleet, like we’ve seen many times before — and it again echoes STID in that the villain’s true identity as a figure from human history was obscured for much of the film. I liked the theme of working for peace versus embracing war, but it was rather more conventional than what I was led to expect.
I also don’t think it sold the message of peace very well, because it fell back on the usual action-movie pattern of just killing the bad guys without remorse or qualm. The bit about using hard-rock music to defeat the swarm ships was kind of cute in a hokey way, but it involved killing thousands of alien pilots, and that wasn’t acknowledged in any way. (How many of those pilots were innocent captives transformed into Krall’s servants?) And I was hoping that the climax would involve Edison redeeming himself — to have a Spider-Man 2-style ending where Kirk would persuade him to regain his humanity and he’d sacrifice himself to stop the destruction he’d started… or better yet, work with Kirk to stop it and then survive to be rehabilitated. It’s only paying lip service to the idea of peace if your hero makes no real effort to find an alternative to killing the bad guy. This is one respect in which I have to give the higher score to the Abrams-directed movies. Kirk at least made a token effort to invite Nero to surrender (though that could’ve been handled much better), and they actually did take Khan alive (though that was mainly with an eye toward sequel possibilities).
As for the closing sequence, I think it’s a bit corny to destroy the ship just to set up an Enterprise-A at the end of the same film, although the time-lapse ending was a clever alternative to ST IV’s approach of just pulling a finished ship out of a hat. But I’m disappointed that the E-A looks basically the same as the original. I was hoping that they’d hold off on introducing the new ship and then would come up with a completely new design for its successor in the next, like the TNG films did with the Enterprise-E. Honestly, I’m not a fan of this Enterprise design. Its saucer is fine, if rather derivative of the TMP ship, but the proportions of the engineering hull and nacelles don’t work for me at all. I would’ve welcomed a completely new design from a different art team.
All in all, this is a very solid Trek movie that handles the characters and ideas pretty well, but that has a certain emotional and thematic superficiality compared to some of its predecessors. Its plot holds together pretty well except where it overlooks some things that could’ve stood to be explained. It has some fantastic action and some overly cluttered action, and some fun-but-hokey moments like the music bit and the motorcycle bit. It handles most of the ensemble well, including Jaylah, but still lets Sulu and Chekov down. I wouldn’t say the problems are quite as frustrating as the problems in the previous two Kelvin films, but there are a few things those films did better, especially when it came to emotional engagement with the characters and situations. So it’s an improvement — certainly the best Trek film of the past decade and one of the best overall — but there’s room for future films to improve on it even more.
Sorry it’s taken me so long to talk about Shore Leave. It’s been a really exhausting week. Since money is very tight for me at the moment, I decided to leave early on Thursday and drive all the way to the DC area so I could spend the night with my cousins Barb and Mark. The drive took 12 hours, including rest and meal breaks, and I didn’t quite make it before dark. It’s a measure of how exhausted I must’ve been that I actually got a decent amount of sleep that night. I almost never manage to get any sleep on my first night in an unfamiliar bed.
(I almost had a copilot this time, though. My Aunt Shirley and Uncle Harry just moved from Detroit to a DC-area retirement home, and their daughter Cynthia is still in Detroit trying to square away the rest of their belongings and arrange the sale of the house. The idea was mooted that I could drive up to Detroit and that together we could drive to Shore Leave and bring some of her parents’ stuff to them, whereupon she could visit me at the convention too. Unfortunately, she had a friend’s wedding to attend that weekend.)
Anyway, I was delayed a bit at the start of my drive when I heard an ominous knock-knock-knock sound from my right front tire once I got above 60 MPH. I pulled over at the first opportunity to check the tire, and it looked fine, so I figured maybe something had gotten stuck on it for a bit and had fallen off before I stopped. But then the sound started up again. So I found the nearest auto shop and asked if they could take a look. I managed to talk them down from “We can pencil you in an hour and a half from now” to just coming out to the parking lot to see if there was even a problem. It turned out that the mud flap sort of thingie in front of the tire had come loose from its anchor and was being blown into the tire by the wind at highway speeds. The clerk and I (mostly him) managed to patch it using a roll of “gorilla tape” I keep in the glove compartment, and although I’m pretty sure I tore the tape on the curb at the next rest stop, the sound didn’t recur for the rest of my trip. Maybe the tape covered a hole or altered the weight distribution just enough to change the flap’s aerodynamics. Anyway, it was a relief that the problem turned out to be inconsequential. And the auto shop guy didn’t even charge me, so I’m very grateful for his help.
So after 12 hours on the road and a decent night’s sleep in my cousins’ guest room, my first stop on Friday was the retirement home where Aunt Shirley and Uncle Harry just moved, about a 20-minute drive from my cousins’ place. It’s a nice facility, strikingly similar in architecture and layout to the home my father lived in all too briefly, and they seem to be content there. They treated me to lunch, and I had a pretty good chicken salad sandwich. Then I set off from there to the convention. This time I had the sense to leave most of my luggage in the trunk until after I checked into my room, and fortunately my room was close to where I parked, so I didn’t have to lug it very far. Eventually I wandered out to the dealers’ area and ran into fellow Trek author and Only Superhuman editor Greg Cox, who’s usually the first person I run into at Shore Leave, and usually in the dealers’ area. (I walked right by him at first, then recognized his distinctive voice behind me while he was conversing with someone else.) We stood and talked for a while, but I was still pretty exhausted and hungry, so eventually we adjourned to the hotel cafe, where I got a sandwich and juice that I was charged exorbitantly for. We encountered a few other people while there and talked shop and the like.
I didn’t have any panels Friday, but I sat in on Greg and Marco Palmieri’s upcoming Tor Books panel (along with new Tor editor Jennifer Gunnels, who has a theater background, so they let her do most of the talking), then went on to the Meet the Pros autographing event. This time I brought copies of my old books to sell at my table, but the only ones I sold were three copies of DTI: Forgotten History. Still, I met a lot of fans and signed a lot of books.
Since I resolved not to spend hotel prices on food anymore, I just had coffee, a cereal bar, and an apple for breakfast, then walked over to the shopping mall nearby to get a sandwich from the Wegman’s grocery store’s deli. Luckily, I happened to have a refrigerator in my hotel room this year (they usually remove them for some reason, but this year was an exception), so I was able to save half the sandwich to eat on Sunday. I was really trying to economize as much as possible this trip.
Saturday was my big panel day. “Kick-ass Women Heroes” was a fun discussion, although there was one point I wished we’d covered more. We talked at one point about how both male and female comics characters tend to be stylized with male gaze in mind — female characters are sexualized, scantily clad, and objectified, while male characters are overmuscled, body-armored tough guys catering to male power fantasies. I asked the female panelists what a male character drawn for female gaze would look like, and the answers boiled down basically to “Chris Hemsworth” and romance-novel cover models. But the question I didn’t get to follow up on is that, if female gaze still favors big, muscular men, what differentiates them from the male gaze-oriented power-fantasy he-men of the comics? Is it the degree of exaggeration? Their wardrobe (functional vs. revealing)? Their attitude and body language? (I welcome replies in the comments from female readers.)
The “Superhero TV Scorecard” panel let us discuss a range of different points of view, because I started off gushing about how awesome Supergirl is and then another panelist insisted he found it unwatchable. Although the panelists and audience members were pretty civil about such differences of taste. The “World-Building” panel had fewer members on it than I expected — Peter David must’ve cancelled, and indeed I don’t think we encountered each other at all this year. Anyway, it was a nice discussion of the process of developing settings for fiction, gaming, and such, and I think moderator Stephen Kozeniewski did a very deft job directing the conversation and handling the audience’s questions. Then came the crowded “Star Trek at 50” panel, where we talked about our love for the franchise and our Trek memories, and fortunately managed to keep the conversation from getting sidetracked by the negativity about new stuff that often gets injected into Trek conversations by some fans. Although that can be a good opportunity to be informative. When someone questioned the idea of having to pay a monthly fee to watch the upcoming new Trek TV series on CBS All Access (which we’ve since learned will be called Star Trek: Discovery), the panelists were able to explain that the fee was for the entire streaming service and its dozens of old and current shows, and that you could just join for a month and binge-watch the whole series after it’s all out, or that you could wait for it to come out on home video a few months later. And I reminded folks that Star Trek has been used as the anchor of new broadcasting outlets before — Phase II was going to launch a Paramount-run “fourth network” before that fell through and the project evolved into Star Trek: The Motion Picture, ST:TNG was the first prime-time drama in first-run syndication and the beginning of a decade-long explosion of first-run syndicated dramas, and Voyager was the anchor show for the UPN network. Star Trek has always been about seeking out and embracing the new, after all.
Unfortunately, there was no opportunity to reschedule the “Upcoming Star Trek Books” panel, so it was still opposite the panel about the Smithsonian’s Enterprise restoration. We still got a decent-sized audience, though. All of my panels on Saturday were well-attended this year, without any cases of the panelists outnumbering the audience. I honestly don’t remember much about the panel, and I didn’t have anything new to announce that I haven’t already revealed, since the contracts haven’t gone through yet. I do remember it was interesting to have Scott Pearson on the panel, since he’s been copyediting a lot of our books lately (including the anniversary trilogy that Greg Cox, David Mack, and Dayton Ward & Kevin Dilmore collaborated on) and it was interesting to get that perspective. Scott recently handled the copyedits on The Face of the Unknown for me, and I think he did a terrific job.
Saturday night featured the usual group outing to Andy Nelson’s BBQ for dinner, and I had my usual pulled turkey sandwich with cornbread and cole slaw on the side. I have the same thing every year because I only have it once a year; if I could dine there more often, I might try something different. Unfortunately, I’d had a bit too big a snack that afternoon, so I was pretty darn stuffed by the end of dinner. We usually eat outside, but it was too humid, so we reserved the large dining room for the group. It was my only big meal of the con, since I skipped the Sunday author breakfast; it’s just gotten too expensive, and this year I was trying to cut my expenses as much as possible. (As it turns out, the freshly made sandwich, two sides, and iced tea I got at Andy Nelson’s cost exactly the same amount as the boxed sandwich and small bottle of orange juice that I got at the hotel cafe the previous evening.)
Sunday was pretty relaxed; my only panel was a small one about e-books and how electronic publishing is changing the business. This time it seemed the panelists may have outnumbered the audience, but since we were all sitting around the same table, it was hard to tell which group was bigger. Sunday was a good day for talking business with other writers, and I did get some promising hints of future possibilities, although one prospect I was hoping to pursue did not pan out. I also spent my requisite hour in the “author chimney” at the bookstore table, signing books for passersby. They let me put out some of my own books to sell, and I finally moved a single copy of Only Superhuman, as well as selling a number of my books in their stock. I learned too late that I could’ve let them sell my books on consignment over the whole weekend and split the money with me.
I was hoping to get to talk to a few of the actor guests, but I was only partially successful. I did talk to Zoie Palmer a bit about Lost Girl and Dark Matter, and that was nice. And I talked a bit to Anthony Montgomery about what I’d done with his character in my Enterprise novels, but I think my timing was bad and he had other things on his mind. I also briefly exchanged hellos with John Noble as we passed in the hallway, but that was about it. I never caught a glimpse of Karen Gillan, whom I would’ve liked to meet.
After the con, I drove back to Barb and Mark’s, and we picked up Shirley and Harry and went to have dinner at the home of Charles, a family friend who’s an excellent cook. When I was helping to get stuff out of the car, I fumbled a bag of squash, bent down to pick up one I’d dropped, and keeled over onto the pavement. I had to sit there for a while to gather myself. I realized that the only things I’d eaten that day had been another bare-bones breakfast of coffee, fruit, and a cereal bar, a half-sandwich and more snacks for lunch, and a single tiny cheese snack when I set out for my drive. My blood sugar must’ve been critically low. So once I made my wobbly way inside, the folks got me some water and nachos to rehydrate while we waited for dinner. It’s a good thing I had such an appetite, since dinner was substantial. It was mostly stuff I’d never had before, with an Indian theme, including curried chicken, jasmine rice, spinach with tofu (substituting for an Indian spinach-and-cheese dish, I think) and lentils (which I couldn’t visually distinguish from corn, though their taste and texture were very different), as well as some of the squash we brought. I was hesitant about the curried chicken, since I’d gathered Indian food was very spicy, but this was quite mild. And when I tentatively sampled it, I not only liked it but found it inexplicably familiar. It took me a while to realize what it reminded me of: amazingly enough, Cincinnati chili. It was probably due to the cinnamon and cumin. Anyway, it’s good to know that Indian food is something I might enjoy after all.
The highlight for me on Monday was my trip to the Air and Space Museum to see the restored Enterprise. Here she is:
By the way, that isn’t my hand in the photo.
And here’s a video I took, from my Facebook author page:
I was disappointed that I couldn’t get anyone to go with me (so there are no photos of me with the ship this time). Anyway, it was an amazing experience. It just looks so right now, and seeing it with the lights on was amazing. The restorers did a fantastic job. Seeing this object on TV for the first time as a child sparked my curiosity and started me on the path that has shaped my whole life, so getting to stand before it and see it restored to its original glory was like completing a pilgrimage. It was amazing. Maybe it was better to be there by myself, just me and my feelings about the ship.
I also enjoyed wandering around the rest of the museum — at least until I got hungry and had to go out into the Mall to have the peanut butter sandwich I’d brought — and geeking out over all the science and exploration stuff. I may do another, more photo-intensive post about it later. I also dropped by the American Museum of Natural History after lunch, but I was still too worn out to enjoy it fully (and I didn’t take pictures there). I found it odd that they included exhibits on African and Korean art and culture in a natural history museum, which is generally more about animals and plants and, well, nature. Wouldn’t something like the National Gallery have been a better place for the cultural exhibits?
Anyway, we dined with Shirley and Harry again Monday night, and I ordered a vegetarian “gyro” (which turned out to be a black-bean patty between slices of flatbread, with tzatziki sauce) and potato wedges, which turned out to be redundant since the sandwich came with chips. So I saved the chips in a takeout box to have on my trip home.
Said trip commenced Tuesday morning — not too early, since I was planning to take it in two days this time, and since I wanted to avoid rush hour on the Beltway. I briefly considered trying to make it in one day, but I wisely recognized that I was just too tired for that and shouldn’t push myself. Plus, the first day was kind of frustrating, since my phone GPS was acting up. It kept forgetting what route I’d selected and trying to redirect me toward its default route — and later, once I’d managed to convince it that I was going to the Pennsylvania Turnpike, for some reason it kept wanting me to detour through Pittsburgh instead of going straight through Wheeling to Columbus. At one point, just after I’d left the Turnpike on Tuesday afternoon, it dinged an alarm tone and told me to take the next exit. I blindly followed its instructions, thinking maybe it was an emergency detour around an accident, but I soon realized it was turning me around, trying to make me go back to the Turnpike and follow it to Pittsburgh!! Why, why, why??? By the time I realized that, it was too late, and I had no choice but to go backward a few miles and then use the next exit to loop back around to the westbound interstate. And I resolved not to blindly trust anything the GPS told me from then on.
So I ended up spending the night at a motel in Eastern PA, one I’d stayed in before on a previous trip (selected for because it was in the book of motel coupons I’d picked up at a rest stop), and then set out again Wednesday morning for a mercifully uneventful trip back home. I had a cup of rest-stop coffee late in the drive, so I was atypically alert when I got home and actually had the energy to unpack most of my bags pretty much right away. Although it’s taken me another few days to get rested enough to write and edit this post.
Anyway, it turns out that my economizing worked fairly well, but not as well as I’d hoped. I made enough money at the convention and saved enough on food and boarding that I’m only in the red by less than 70 dollars. Indeed, if I’d been able to make it all the way home on Tuesday rather than staying in a motel, I would’ve come out a few dollars ahead. Still, it was a mistake to try to save money by relying on snacks instead of decent meals. Both interstate driving and convention-going take a lot out of a person. Here it is a week later and I’m still not fully recovered. Still, it was worth it. It was a hell of a trip.
The final schedule for Shore Leave 38 has gone online:
Here are the appearances and panels I have scheduled, assuming I survive what looks like a rainy drive tomorrow:
Meet the Pros — 10 PM to Midnight, Hunt/Valley Corridor
The usual mass signing event. For a change this year, I intend to have copies of Only Superhuman and assorted Trek paperbacks for sale. I’m now equipped to take credit cards as well — I find I seem to be selling more books now that I have that option, so I though it would be worth mentioning.
Kick-ass Women Heroes — Noon, Salon A
Pretty self-explanatory. Also with Rigel Ailur, Joshua Palmatier, T.J. Perkins, Greg Cox, Mary Fan, and Jo Graham.
Superhero TV Scorecard — 1 PM, Salon A
The writer guests geek out about, well, superhero TV. Also with Russ Colchamiro, Michael Jan Friedman, Dave Galanter, Susanna Reilly, and Daniel Patrick Corcoran.
World-Building — 2 PM, Chase Ballroom
Discussing one of my favorite subjects with Stephen Kozeniewski, Richard C. White, Michael Jan Friedman, Mary-
Louise Davie, Kelly Meding, Jim Johnson, and Peter David.
Star Trek at 50 — 3 PM, Salon A
Not to be confused with the “Star Trek: The Big 5-0” panel at 10 AM in the same room. That’s the fan-track anniversary panel, while this is the author track one (so you’d think we could’ve come up with a more distinctive name). I’ll be there with Robert Greenberger, Dave Galanter, Howard Weinstein, Paula M. Block, and Larry Nemecek, and I imagine some other folks will show up as well.
Upcoming Star Trek Books — 5 PM, Salon A
Discussing next year’s schedule with Greg Cox, Dayton Ward, David Mack, and Scott Pearson. Sadly, this is on at the same time as the “Air and Space Museum’s Enterprise Project” panel that I was dying to see.
Original e-Books/e-Novellas — Noon, Concierge Lounge
Discussing original-to-electronic work with Jim Johnson, Terry J. Erdmann, Paula M. Block, Richard C. White, Steve Wilson, and Jo Graham.
So basically I’ll be in Salon A a lot on Saturday, with a lighter schedule on the other two days.
Well, just days after I made a post assessing my own work for its gender/sexual inclusiveness, we get a noteworthy piece of news from the makers of the upcoming Star Trek Beyond: The movie will establish in passing that Sulu has a husband and a daughter. The daughter is most likely Demora, a character established in Star Trek Generations, but the news everyone’s reacting to is that Sulu is married to a man. This is not being treated as a big deal in the movie, but it’s made quite the ripple in popular culture. The makers of Star Trek have been making noises about LGBT inclusion for decades, but they’ve never followed through until now. We got a few indirect attempts, the boldest being DS9’s “Rejoined” and its then-controversial same-sex kiss between Jadzia Dax and her former husband who was now in a female host — and the weakest being TNG’s “The Outcast,” whose attempt at anti-discrimination allegory was undermined by its heteronormative casting and its tedious preachiness at the expense of entertainment value. But the producers claimed they couldn’t figure out an appropriate way to include or reveal a gay, lesbian, or bisexual main character without it being overly preachy or self-conscious or whatever.
Which always seemed disingenuous to me, because a lot of other contemporaneous storytellers had already found the right way to do it, which was just to do it and not make an issue of it — to simply acknowledge the fact that LGBTQ people are already part of everyday life and that their relationships are no different than anyone else’s. Just write characters having relationships the same way you always do, but occasionally make their partners their own sex. This is how I and other Star Trek novelists have been approaching it for nearly two decades, ever since two of the lead female cadets in Susan Wright’s 1998 novel The Best and the Brightest (nominally a Next Generation book, but focusing on an original group of Academy cadets) were subtly established as being in a relationship, and ever since Andy Mangels & Mike Martin’s Section 31: Rogue in 2001 showed the Star Trek: First Contact character Lt. Hawk (who had been rumored as being gay but wasn’t shown to be onscreen) in a relationship with a Trill man named Ranul Keru (now a regular in the Star Trek: Titan series). I’ve done the same thing myself in a number of my books — indeed, in the past couple of Rise of the Federation novels, I’ve mentioned in passing that Travis Mayweather experimented with sexual partners of both sexes in his teens, and I’ve confirmed that Dr. Phlox is bisexual (as John Billingsley always believed him to be). So I technically beat the filmmakers to the punch with “outing” a canonical series-lead character, but only in the books, so it wasn’t definitive and hardly anybody noticed.
Anyway, the point is that including LGBTQ characters is something you can easily do just by treating sexual diversity as a routine part of life, which is what it actually is. That’s worked fine for me, and for my Trek Lit colleagues who’ve done the same. And we’ve seen similar casual inclusion in plenty of other media franchises by this point (e.g. Doctor Who, the DC “Arrowverse,” and Person of Interest), so it’s been frustrating that Star Trek, which made its name by being on the cutting edge of diversity and inclusive casting, persistently fell so far behind the curve on this count. So I’m very pleased to see that that’s no longer the case.
Some have questioned whether it was appropriate to make Sulu gay rather than some other character. George Takei himself has notably objected to this, saying it twists Gene Roddenberry’s original intentions for the character. But a lot of other notable gay voices associated with Star Trek have lauded the change, including Zachary Quinto, David Gerrold, and Andy Mangels. I think Adam-Troy Castro’s take on Takei’s reaction is cogent — that it’s more about an actor’s attachment to his long-established mental model of the character he plays than anything else. (We’ve seen other actors, like Dirk Benedict and Adam West, react poorly to reimaginings of their iconic characters.) After all, Gene Roddenberry was not reluctant to change his intentions. He was the guy who altered the Klingons’ appearance for Star Trek: The Motion Picture and asked fans to assume they’d always looked that way. Creators change their minds after the fact all the time.
And I agree with Simon Pegg’s explanation that it was a better choice to establish this as one attribute of a known character, one we already had an investment in and an image of, than to introduce some new person who would just be there to be “the gay character” and would probably never be seen again after the one movie. It’s not really inclusion if you continue to keep the core cast uniform and just “include” token characters on the fringes. That’s why the Supergirl TV series making Jimmy Olsen black was a better choice than introducing some new minor character to be “the black guy.” The Superman comics tried that with Ron Troupe, and, well, if you’re asking “Ron who?”, then that makes my point for me.
Also, it can be argued that the Sulu of the Kelvin Timeline (I’m so pleased to have an official name for the new movies’ universe now) doesn’t need to have the same orientation as the Sulu of the Prime universe. The Star Trek Chronology conjecturally puts Sulu’s birth in 2237, four years after the timelines split. So even if he’s genetically the same individual (which he doesn’t necessarily have to be, since he could’ve been conceived at a different time, like how Chekov is four years older in this reality), the hormonal and epigenetic factors shaping his pre-natal development could’ve been different, giving him a different orientation — like several of the Leda clones on Orphan Black (Alison is hetero, Cosima is lesbian, Sarah is at least situationally bisexual, Tony is transgender, etc.).
Honestly, we don’t even know for sure that Prime Sulu was heterosexual. By happenstance (or more likely because of racial prejudices that still linger today), Sulu was the one member of the main cast who was never given a romantic subplot. Leila Kalomi in “This Side of Paradise” was going to be Sulu’s love interest (hence her “exotic” name), but was then rewritten to be Spock’s and cast as a blonde woman. He was shown to be affected by the allure of “Mudd’s Women” and “The Lorelei Signal” along with all the other men in the crew, and in the extended cut and novelization of ST:TMP, he’s flustered and aroused by Ilia’s Deltan sex appeal — but it’s worth noting that those were all superhumanly arousing women, so it doesn’t prove that ordinary women would get a rise out of him. A lot of people strongly prefer one sex but are capable of occasional interest in the other.
I don’t count Sulu’s “fair maiden” reaction to Uhura in “The Naked Time,” because he was role-playing as D’Artagnan. Nor do I count “Mirror, Mirror” Sulu’s harassment of Uhura, both because that was another alternate version and because sexual harassment is more about power than attraction. (For all we know, Mirror Sulu harassed Chekov the same way when the camera wasn’t looking.) So that just leaves the somewhat creepy moment in “The Magicks of Megas-tu” where Sulu used the alternate dimension’s “magical” physics to conjure up an illusory woman that he tried to kiss. On the bridge. In front of everybody. Honestly, that’s just wrong on so many levels that I’m happy to ignore it. (I disregard the whole episode anyway. It’s steeped in the Hoylean continuous-creation cosmology that had already been discredited in favor of the Big Bang even at the time, and is now as archaic as a story about canals on Mars or dinosaur-filled jungles on Venus.)
Honestly, when George Takei first came out publicly years ago and I heard people say “So should Sulu be gay now?” I thought he shouldn’t be, because the actor and the character are two different people, and gay actors shouldn’t be typecast as only playing gay characters. But of course, Sulu is now played by a different, heterosexual actor, so that ameliorates it somewhat. And I can see the logic that, since Sulu is the only character who never explicitly had a heterosexual relationship onscreen, he’s the most likely candidate, even aside from who played him. Indeed, David Gerrold commented recently that he always read Sulu as gay.
Things get trickier when you bring the tie-ins into it, because a number of books and comics have shown Sulu in heterosexual relationships, including with Mandala Flynn in Vonda McIntyre’s The Entropy Effect (the book that coined his first name Hikaru), Demora’s mother Susan Ling in Peter David’s The Captain’s Daughter, M’Ress and Kathy Li in Peter David’s DC comics, and a Tokugawa-era concubine in the time-travel novel Home is the Hunter by Dana Kramer-Rolls. True, the books and comics have never had a single, uniform continuity, and the only one of those stories that’s really compatible with the modern novel continuity is The Captain’s Daughter (which I referenced in Ex Machina and Watching the Clock, and which established the characterization of Enterprise-B captain John Harriman that David R. George III has expanded on in several later works). That one’s kind of tricky to get around, given its importance. Still, I expect Sulu’s newly established characterization in Beyond will be reflected in how future novelists write him. As has happened in the past, any inconsistencies will either be glossed over or explained away. After all, anything else would feel like moving backward.