The BBC has recognized outspoken atheist Richard Dawkins as their 2006 Person of the Year. That made me think of the original Star Trek.
When writing about the appeal of the original Star Trek it has become de rigeur to cite its optimistic vision for the future — in which war, racial strife, etc. have been overcome — especially since it appeared during the turbulence of the 1960’s. But I think the real answer is something deeper and more essential.
First, a digression. In The Adventures of Baron Munchausen, the Baron, that lovable spinner of fantastical tall tales, is opposed by “The Right Ordinary Horatio Jackson,” a literal-minded and distinctly unlovable bureaucrat who prizes order and rationality over the creative chaos of the Baron’s world. The film depicts rationality robbing the world of adventure and romance.
American pop culture has always been hard on men of reason, who usually come off as amoral, insensitive, clumsy, narrow-minded, unpoetic, socially inept, or downright mad. Dreamers, lovers, men of action — they are the heroes, and anyone employing logic is a mere detractor if not an out-and-out villain.
In the popular imagination, the intellect is suspect. Thinkers in general, and scientists in particular, are a haughty elite, the priests and guardians of an occult sect with its own impenetrable apocrypha and incomprehensible dialects. They set themselves up as authorities on various subjects and make pronouncements based on arcane knowledge that are never to be trusted, because there’s always a contradictory pronouncement just around the corner.
But in reality, what can be more democratic than science? It’s the ultimate leveler; anyone can be an authority. Science isn’t a particular collection of knowledge or a particular place or particular people. Science is a method, famously encapsulated by Richard Feynman as: “1. Make a guess. 2. See if you’re wrong.” Anyone who thinks according to these rules, and follows fearlessly where the reasoning leads, is a scientist.
If democracy is the founding principle of America, science and rationality are its true religion. They are the bedrock on which its political and industrial institutions are built, even at times when science seems temporarily discredited by the prevailing political fashions of the day.
Yet, even as science is central to the American experience, it gets short shrift in popular culture. Often marginalized, occasionally trashed, seldom if ever was it celebrated properly — until Star Trek. The accomplishment of Star Trek, and the true source of its enduring appeal, was its portrayal of a future in which rationality does not kill adventure and romance but creates them, satisfying the unmet need of Americans to see their society validated — or, as one like-minded fan commented recently,
It isn’t Star Trek’s “optimism” that made it great. It’s the idea that in the future the Carl Sagans of the universe will be in charge and successfully run society on the principles of secular humanism and science while the George Bush and Dick Cheneys of the universe are Klingons. Star Trek is about the promise of a new Enlightenment […]
As a champion of romantic rationality and a lifelong Star Trek fan I am encouraged by the selection of Dawkins as BBC’s Person of the Year. Atheism has always been the belief-that-dares-not-speak-its-name. Even at the height of the Age of Reason, Thomas Jefferson, whom we might recognize as an atheist, called himself a Deist. But this news about Dawkins, and other harbingers (here, here, and here), suggest that atheism is coming out of the closet in a big way, which can only happen in an environment favorable to rationality. Can it be that the recent wave of anti-intellectualism in the Western world finally crested, crashed on the jagged rocks of the reality-based community, and is now receding?
That would be good news for the back-to-its-roots Star Trek movie now in development.

All of which makes him out to be rather a saint, which may indeed be appropriate but is also rather depersonalizing. When I knew him he was just an uncommonly fun friend, part of my inner circle. We hung out, played games, hatched schemes, acted silly.
Thus began the Night of a Million Bees. Actually it was only thirty or forty, but to me it seemed like a million. You see, even though as a scientist I like and admire bees, and can even enjoy watching their industrious activities from a safe remove, in person I’m terrified of them. My parents used to make fun of the way I skedaddled out of the way whenever I saw one as a kid; they called it “The Glickstein Shuffle.” In summer camp I was always relegated to right field when we played softball, where the clover was dense and the honeybees were busy. Many were the times when a fly ball would land just a few steps from me while I was preoccupied with staying out of the bees’ way.
Let’s get this out of the way right now: The Godfather was a supernaturally good movie. The story, the characters, the performances, the settings, the cinematography, the editing, the music
Part II? Lots of that was great, too. Numerous memorable moments. “I know it was you, Fredo. You broke my heart. You broke my heart!” De Niro as the young Vito — incredible. But does it add up to much more than the sum of its parts like the original? No. Most of its flaws are with the plot, which is at times confusing and inconsistent. For instance, I have never been able to find anyone able to answer these questions (warning: spoilers follow):