Tag Archives: Television

Spock, McCoy, and the Lesson We Got Wrong

I have been thinking lately about Spock and McCoy, and the strange legacy of one of the most famous relationships in Star Trek.

Even for people who no longer remember much of The Original Series—or never saw it—the cultural shorthand is familiar: McCoy, the passionate human doctor, needling or even berating Spock, the “logical” Vulcan. Spock responds with the raised eyebrow, the pointed ears, and the supposedly emotionless calm. Kirk stands in the middle, representing the familiar formula of human balance between logic and feeling.

It was funny. It was entertaining. It was also, looking back, much more troubling than we were encouraged to see at the time.

What people should have taken from Leonard Nimoy’s Spock was not that logic makes a person cold, robotic, detached, or unable to understand ordinary human decency. The point of Spock—at least as Nimoy played him—was that he felt deeply. He was not a blank calculator. He was someone constantly working to control powerful feelings: loneliness, divided identity, loyalty, fear, grief, love, pride, shame, and pain.

The restraint was the point. The interior life was the point.

Nimoy did extraordinarily subtle work. A glance, a pause, a slight shift in his voice, the rare breaking of that controlled exterior: those things carried enormous emotional weight precisely because they were rare. Spock’s loyalty to Kirk, his concern for the crew, his discomfort with his divided heritage, and his willingness to sacrifice himself were not incidental details. They were the character.

And yet popular memory somehow turned him into the cultural mascot for something very different: the person who has facts but no heart. The most vocal proponent of this stereotype was Dr. McCoy.

“You wouldn’t know what to do with a genuine, warm, decent feeling.”

That was Dr. McCoy berating Mr. Spock. It is not a paraphrase. McCoy actually says it to Spock in “Bread and Circuses,” following it with the accusation that Spock is “more afraid of living” because he might let his human side show.

It is a striking line—not because it is profound, but because it captures the ugly core of McCoy’s recurring posture toward Spock. McCoy is not merely telling Spock that an analysis has missed a human cost. He is telling him that because he is Vulcan, restrained, and analytical, he is unable to understand decency, warmth, and love.

And again, this was not a one-off. This is merely one example of McCoy’s all too predictable, public accusations and insults directed toward Spock. To put it bluntly, Spock tolerated a LOT of shit from McCoy.

That was McCoy’s deep flaw. He often treated Spock’s difference as deficiency. He mistook unfamiliar emotional expression for an absence of emotion. Worse, he treated human emotional style as the standard by which moral worth should be judged.

McCoy could have said, “Spock, your calculation may be accurate, but I think it leaves out the human cost.” That would have been legitimate. It would have been useful. Somebody should say that in any serious decision.

Instead, too often, the message was: “You are cold because you are logical. You are less capable of decency because you are not emotionally like me.”

That is not a defense of humanity. It is human exceptionalism. And it is simply wrong.

The Vulcans were never emotionless machines waiting for humans to teach them how to feel. If anything, their emotions were meant to be so powerful and dangerous that they developed an entire civilization around controlling them. Vulcan logic was not a failure to feel. It was a response to feeling too much, and to recognizing that anger, fear, tribalism, pride, and impulse can destroy a civilization when left unchecked.

That should have been a useful lesson. Instead, the public often absorbed the opposite one: emotions are what make us human, so someone who restrains or regulates emotion must be less human, less compassionate, less trustworthy, and perhaps morally suspect.

I have run into that attitude constantly in my writing, particularly in Pandemic of Delusion, and in talks about fact-based thinking. I will argue that we should care about what is true, that we should distinguish evidence from assertion, that good intentions do not excuse false claims, and that compassion is not enough if the beliefs motivating it are wrong.

And sooner or later, someone inevitably invokes Spock.

Not usually in a thoughtful way. Not as a serious discussion of the tension between values, facts, and making decisions under uncertainty. Rather, “Spock-like” is invoked as a warning: evidence-based thinking will turn you into a cold person who cannot understand ordinary human feeling.

It is one of the more frustrating cultural reflexes I have encountered. It allows people to evade the actual question—whether something is true, whether an intervention works, whether a claimed cause really produces the supposed effect—by turning the person asking for evidence into a character problem. The implication is that concern for facts means lack of concern for people.

But facts are not the opposite of compassion. They are the opposite of falsehood.

If we care about people, we should care whether our beliefs are accurate. We should care whether an emotional solution actually helps or merely makes us feel as though we have helped. We should care whether a frightening claim is real, whether a treatment works, whether a policy reduces harm, whether an anecdote represents a genuine pattern, and whether a comforting explanation is actually just another delusion.

Emotion can tell us that something matters. It can alert us to suffering, injustice, danger, loss, attachment, and values. But it cannot tell us, by itself, what is true. It cannot tell us whether a vaccine is dangerous, whether a conspiracy is real, whether a miracle cure works, whether a political claim is accurate, or whether the policy we favor will have the result we hope for.

The fact that this needs saying at all is part of the problem.

The better lesson of Spock was never that emotion is bad. Nor was it that logic alone can answer every question. Logic cannot tell us what we should value. It cannot tell us whose suffering matters, or what sacrifices are morally acceptable. But neither can emotion tell us which beliefs are true. It cannot make a false claim true because we feel it deeply enough.

Spock and McCoy should have represented two different cautions. Spock should have reminded us that desire, outrage, fear, and loyalty are not evidence. McCoy should have reminded us that calculation can conceal real human costs and unexamined moral choices.

Instead, McCoy’s contempt became part of the cultural memory, while Nimoy’s remarkable portrayal was flattened into a stereotype. “Spock” became shorthand for coldness. “Human” became shorthand for emotional superiority. And fact-based thinking became entangled with a ridiculous fear that caring about reality somehow means caring less about people.

What makes this more than an old television complaint is that the shorthand escaped the show. Many people using “Spock-like” today are not carefully recalling an episode of Star Trek. Some may never have watched The Original Series at all. They carry only the cultural residue: pointed ears, raised eyebrow, logic, coldness, emotional deficiency.

The original show is old. Much of it is dated. Many of its stories are barely remembered except by diehard fans. But the stereotype survived because it became so very useful. It became a quick way to accuse someone of being insufficiently human without having to show that they were wrong.

That is what stuck. Not Spock’s loyalty, restraint, courage, humor, grief, divided identity, or willingness to sacrifice himself for others. Not Nimoy’s portrayal of a person with a rich interior life who refused to let feeling become a substitute for judgment. What stuck was McCoy’s arrogance, bigotry, and contempt for the idea that someone who thinks carefully can also care deeply.

McCoy’s contempt for logic took a lasting hold on our cultural imagination. Spock’s introspective subtlety, and his respect for facts and reason, did not.

What was lost was Nimoy’s Spock: a person who felt deeply, endured difference, valued truth, understood duty, loved loyally, and tried—often imperfectly—not to let anger, fear, wishful thinking, or tribal attachment determine what was real.

That is not a cold ideal. It may be one of the most humane ideals there is.

And it is a shame that so many people inherited the insult while missing the lesson.

The Tragedy of Game of Thrones

GoTsucksThe popular meme going around is that everyone was very disappointed by – even angry about – the Game of Thrones final season, particularly the last episode. Actual statistics reveal a different story. Almost half of the viewers were satisfied with the series and only about one third felt “sad” about the final season. An impressive 44% loved the series from start to finish  (see here).

I felt sad AND loved the series from start to finish.

Clearly a very negative meme about GoT emerged over the last couple seasons. But this was to be expected. Few shows can maintain such an extraordinarily high degree of hype for more than five seasons (let alone eight) without being turned upon by popular culture, regardless of the quality. It actually surprises me that as many as 44% of viewers remained satisfied to the end. Count me among that 44 percent.

I acknowledge that people have valid reasons for complaint. While the negativity is not limited to the final episode, the series finale certainly left a lot to be desired. It seemed like a hastily constructed effort to wrap up a series that had been suddenly and unexpectedly cancelled. It was not fully fleshed out and lacked any epic twists or surprises. No bigger-than-life heroes emerged to allow the viewer to reach satisfying closure after all the preceding sadness and horror.

But much of what disappointed many is precisely what impressed me. I credit the authors and producers for not caving under pressure from vocal fans and critics. They stayed true to the story and to the characters. Game of Thrones was never a Tolkien-esque fantasy nor a superhero blockbuster. It was essentially a Greek tragedy, populated with powerful yet deeply flawed people who could never hope to live up to the expectations that others placed upon them, or in the case of Daenerys, her own unrealistic expectations. The games of the powerful were never noble and their machinations and best efforts only resulted in senseless, horrendous war and suffering.

That was the story.

The series ended exactly as it should have ended, overwhelmed by appalling misery and death. No heroes emerged because there never were any. There were only tragic figures who had no hope of overcoming their baser natures. Jon could never be the hero we wanted him to be. All he was ever capable of was one craven dagger thrust before slinking off into anonymity. Jamie was always a fool for his cold-hearted sister and it was fitting that he expired with his head on her bosom as she gazed away with deathly-cold disinterest. Tyrian remained a soft-hearted fool to the end, transferring his hopes from one flawed leader to another. The emotionally stunted woman that Sansa became was little improved from the self-serving child we first met in Winterfell. Likewise, her sister Arya sailed away from her story arc, from all her promise, without distinction, again running away from relationships and responsibilities just as she had always done.

The only character to show consistent courage and wisdom was Varys, and he met an ignominious end leaving behind no brilliantly laid plans to save the kingdom from beyond the grave. There was one character, albeit a minor one, whose arc was about overcoming hardship and finding heroism, and that was Sandor Clegane. He suffered through horrendous adversity with dignity and became the unlikely anti-hero who battled his soulless monstrosity of a brother to the death. This had no significant effect on world events, however.

The Game of Thrones series lived and died just like its characters – tragically. It had great promise, but it never could be what we hoped or wanted or needed or would have liked it to be. It could never live up to our hopes and expectations for it. It could never make us feel good or give us a happy ending, let alone a satisfying ending. It was all about the senselessness of war and the folly of human beings, and the series could not leave us with any more than that.

Game of Thrones was an unflinching and uncompromising depiction of a humanity tragically inadequate to the challenges of their day. Their failures were vividly brought to life through amazing visual storytelling. Like its characters, the series was all it was meant to be, all it could be. It painted no rosy pictures and remained true to the end. Its greatest disappointment is perhaps that it depicted too much reality and not enough fantasy.

Game of Thrones is a cautionary saga that makes me hope that our humanity can face the existential challenges of our day, like Global Climate Change, with more courage and wisdom than those larger-than-life “heroes” of the Seven Kingdoms.

Feud Delivery

I don’t often do articles on television shows because only a truly superb series can inspire me to promote it. My very first figmentum was a review of Penny Dreadful on Showtime (see here and here). In a subsequent figmentum, I raved about the Netflix series Daredevil (see here). Given what those two series say about my taste in entertainment, you may find it surprising that I would now feel inspired to rave about Feud: Bette and Joan (see here) which is currently playing on FX (preview here).

FeudTo sum it up in typical Hollywood fashion: Feud delivers a spicy pair of dishes!

The 8 episode series recreates the bitterly tempestuous rivalry between the legendary actresses Bette Davis (see here) and Joan Crawford (see here). Screen icon Bette Davis is portrayed with masterfully understated brilliance by Susan Sarandon (see here). Sarandon exquisitely captures the quirky but many-layered personality of Davis without succumbing to portraying her as the caricature of the actress that has been depicted through innumerable movie and cartoon parodies. Jessica Lange (see here) delivers an equally brilliant performance, fearlessly inhabiting a bitter and ever-acting Joan Crawford, desperately clinging to old grudges and her fading superstar status.

zetajonesThe series doesn’t rely only upon these great lead performances. The 1960’s sets are recreated with impeccable attention to detail and the supporting cast is just wonderful. Catherine Zeta Jones is radiant as always in her portrayal of Davis’ friend Olivia de Havilland. Kathy Bates is believably engaging as actress Joan Blondell and Alfred Molina resonates as the beleaguered film director Robert Aldrich. Judy Davis is shamelessly scheming as gossip columnist Hedda Hopper and Jackie Hoffman delivers a comically low key performance as Crawford’s Lady Friday, Manacita. Many other classic stars make “cameo” appearances.

Here’s the other thing about Feud that I really appreciate. Whenever I see a movie or television show that is “based on actual events,” I immediately do some research to fact-check the accuracy of the dramatization. In the vast majority of these recreations, the film proves to be about as realistic as an animated George Washington confessing to his father that he cut down the cherry tree. Feud, however, appears to be meticulously researched and faithfully recreated. Despite some relatively minor historical nits (see here), the series seems to be spot-on in style, substance, and sequence.

In fact, I find that one of the biggest flaws in historical films is that they under-dramatize the reality of the actual events. For the most part, reality is just too raw, too disturbing to depict on film. If real events were shown as they actually happened, most viewers would turn away in disbelief and/or revulsion. Truth is indeed more difficult to believe than fiction. While Feud is presumably somewhat sanitized, it doesn’t shirk away from raw emotions and ugly behaviors.

Feud is both a comedy and a tragedy. You want to laugh at the over-the-top behaviors of these people but you can’t because their feelings and motivations hit way too close to the heart.

Check out Feud. I hope you enjoy it as much as I am. This is the kind of great filmmaking that we should all support.