I really hope most people are aware of why Amok Time was made in the first place
I should start off by saying that Star Trek was made with a female audience in mind. It’s why Captain Kirk’s shirt rips and why he’s shirtless a lot, since the makers of the show were expecting to draw in a female audience with the good looks of William Shatner. Star Trek was even considered fake sci fi for girls by most male sci fi fans.
I have to mention that first because the show was banking on the female audience to fawn over Captain Kirk, and many of the women watching did, but they soon realized that even more women were fawning over Spock. When the show got renewed for a second season, they wanted to make sure they could retain the same female audience, most importantly the Spock fangirls, so they decided to treat their female audience with Amok Time.
Every single decision involved in the plot of the episode was made with “how do we give these ladies what they want without hurting his likability?”. Pon Farr was made up so Spock would have a reason to act super horny while still being the same alien everyone knew and love, T’Pring leaving Spock while Spock was planning on being loyal to her to show off how loyal he is to romantic partners, and his Pon Farr being cured without actually having sex was to keep him single.
TL;DR Amok Time was made for straight girl wank bank but instead they created the K/S community
I don’t think it was inadvertent at all – Theodore Sturgeon, the writer of Amok Time, was openly gay and was known for constantly trying to slip gay shit past the censors. He also wrote the backrub scene and lots of other k/s moments. Lgbt people in the 60s wanted to see themselves represented in media just as much as we do, but because of censorship laws it all had to be subtextual.
I’d like to look at this from another angle, because I think there’s more to it than Sturgeon was gay, therefore the gay subtext.
At the time Trek was airing, CBS thought of it as a kids’ show and boys were assumed to be the primary audience of Sci-Fi. In 1967 – 1969 girls were not thought of as being interested in Sci-Fi for its own sake (no matter how wrong media producers were about that). Girls were the half of the demographic that had to be brought in by “girl things”, e.g., fashion and romance and cute (non-threateningly good looking) male characters. An example would be the inclusion of Chekov with his Monkees haircut during the second season.
So yes, when it was discovered that there was actually a female demographic gravitating to the show on its own, for its own reasons (e.g., Spock, the dynamic between Spock & Kirk), then Roddenberry, a very clever man, decided to exploit these things for all they were worth.
One of the best and most time-honored ways of doing this is through the “Are They Or Aren’t They (Lovers)?” question (aka the Bromance), primarily of interest (so it is assumed) to the female audience. What makes the question work is that it’s always hinted at but never, ever answered. If you answer the question, you resolve the undercurrent of sexual tension and you kill the show (or it must become another kind of show).
It is also something that Theodore Sturgeon, a well-established science fiction writer at the time “Amok Time” was written, would have known. He would also have known where to look for a story idea that would really grab the audience, not with fistfights, rubber monsters or planet-devouring robots, but with the question: What do I (and the rest of the audience) most want to see? The answer is always the forbidden, the thing held back, kept under wraps.
“Amok Time” and Pon Farr is one of the best examples of “Are They Or Aren’t They?” because the engine that drives the story is that strong undercurrent of unresolved sexual tension (aka gay subtext). At the time the show aired, few in the audience would have spotted that subtext, which was how they got away with it, but the female and gay contingent would certainly have felt its effects. When a show brushes close to your half-conscious fantasies, it is absolutely electrifying, though you may not be able to explain exactly why.
Sturgeon headed straight for the forbidden: to strip Spock emotionally naked. Pon Farr was the vehicle with which to do it. Show after show (and Nimoy himself, as he developed the character) gave the female audience teasing little hints at the inner Spock, the smouldering interior landscape, the potentially barbaric sexual and emotional inner being he was keeping hold of with an iron fist. “Amok Time” is an emotional striptease that pays off by symbolically answering Are They Or Aren’t They?
In writing, and this includes television writing, when you have written a fight scene, particularly one that is cathartic, you should examine it with the same critical eye as you would a sex scene. This is because in terms of character development, fight scenes and sex scenes do the same thing: they strip the character bare by showing you their “inner animal”, their deepest needs, desires and fears. This is something else Sturgeon would have known. It is the reason Pon Farr is structured to only have two possible resolutions: sex or a fight (or denied either, death). So when Spock finally does explode, how does it happen? A fight to the death not with Stonn, his actual rival for T’Pring, but with Kirk (with the acknowledgment that Spock didn’t choose Kirk for this purpose, but Sturgeon, the writer did).
On an emotional and symbolic level, the answer to Are They Or Aren’t They is a resounding YES, THEY ARE. On a conscious, visual level, the answer remains ambiguous, a hint, subtext, thus keeping the unresolved sexual tension intact. However physical the fight, the consummation remains emotional only, and thus the show, and the chemistry between Kirk & Spock, goes on. It’s an elegant solution to a big problem: How can you give the audience what it wants, without really giving them what they want and destroying the show (as it would have been at that time)?
So IMO, Pon Farr was not quite so deliberately created to give Trek a hefty dose of gay subtext, nor is that subtext just an accidental byproduct. It’s a great writer weaving all of that together to make a very compelling story.
damn….
Just one last thing, Sturgeon won a “Gaylactic Spectrum Award” (given to LGBT+ science fiction/fantasy novels and short stories) for a piece he wrote called The World Well Lost. It’s about humans who discover a pair of male aliens who are deeply, intrinsically in love, kinda like Spock and Jim ☺️
(Also, I don’t believe Sturgeon was gay, I believe he was actually bisexual or sexually fluid, but I’ll have to check because I don’t know for sure.)
Reblogging for the excellent commentary AND this line which I want to be engraved on my headstone:
“…
Show after show (and Nimoy himself, as he developed the character) gave the female audience teasing little hints at the inner Spock,
the smouldering interior landscape, the potentially barbaric sexual and emotional inner being he was keeping hold of with an iron fist. “Amok Time” is an emotional striptease that pays off by symbolically answering Are They Or Aren’t They?”
i will never be over the fact that during first contact a human offered their hand to a vulcan and the vulcan was just like “wow humans are fucking wild” and took it
Humanity’s first contact with Vulcans was some guy going “I’m down to fuck.”
Vulcans’ first contact with Humans was an emphatic “Sure.”
“sir…these…these humans…they greet each other by…” *glances around before furtively whispering* “by clasping hands…”
*prolonged silence* “oh my…”
“sir…sir how will we make first contact with them? surely we…we cannot refuse this handclasping ritual, they will take it as an insult, but what vulcan would agree to such a distasteful and uncomfortable ritual??”
*several pensive moments later* “contact the vulcan high command and tell them to send us kuvak. i once saw that crazy son of a bitch arm wrestle a klingon, he’ll put his hands on anything”
Elsewhere, w/ kuvak: “….my day has come.”
The vulcan who made first contact with humans is named Solkar guys. Y’all just be makin’ up names for characters that already have names.
Bonus: here’s a screencap of Solkar doing the “my body is ready” pose right before he shakes Zefram Cochrane’s hand:
I swear Vulcans only come in two types and they are “distant xenophobes” or “horny on main for humanity”. Also apparently this guy is Spock’s great-grandfather and frankly that explains everything.
Hey so I looked into this at one point and that handshake literally created a lifelong telepathic bond between the two of them, and basically all of Solkar’s descendants were later obsessed with humans, including freaking SPOCK, so I’m not saying that handshake was so gay and good that it created an intergenerational telepathic bond between Solkar’s descendants and humans, but I’m also not….not….saying that.
The slow deliberation with which Solkar takes Cockrane’s–I’m sorry, Cochrane’s–hand… The sheer sensuality witch which Solkar infuses an otherwise borderline impersonal social ritual… It clearly shows a very conscious knowledge, on Solkar’s part, of what the significance of the handshake is in Vulcan terms and of how affected he is by it.
That’s why he’s so slow in doing it, and so sensual. A part of Solkar can’t believe this is happening, despite it being a perfectly logical thing to expect from a human, and the rest of him can’t believe how good it is.
I bet that if the camera zoomed in any further we would see the dilation of Solkar’s pupils and a quickly-repressed shiver of delight. Cochrane’s firm, businesslike clasp is probably (in sexual terms) being perceived as a deliciously carnal display of dominance.
No wonder Solkar is all like, “TAKE ME, YOU WILD-MANNERED BARBARIAN WITH ENTICINGLY ROUGH CALLUSES.”
And so we find out that yes, there is such a thing as bottoming in Pon-farr.
Every time this post comes round my dash, it just gets better.
I found a little book of star trek trivia at my favorite used book store and the book was published in the 80s and I’m flipping through it and it’s like “dedicated Fans taping episodes of star trek ensure that future generations will be able to enjoy the series” which is such a weird sort of technology whiplash like we went from VHS tapes being THE way to consume media on demand and I’m over here in 2018 watching this show on my smartphone on Netflix and?? When the show came out VHS wasn’t even a wildly avaliable thing??? Sometimes little things give me hope, like a tiny book reminding me how much humanity has accomplished in 50 years.
Oh my goodness, there was no such thing as media on demand when TOS aired! We could not have imagined such a thing.
Around 1970-71 a group of original fans in the LA area did what we could to make a record of what happened in each episode, because it could easily be a year or more before our local station might run any given episode again. Whenever a rerun was shown, we worked as a team, taking Polaroid photos of the TV screen at each scene change and writing a quick description of what happens in the scene. These we glued onto poster boards, one for each episode, building up the collection over a couple of years (the rate at which we were able to see the episodes in reruns). The poster boards hung in a couple of our garages and were available for any fan to view with an appointment.
We would have been so jealous of fans now, had we known the day would come when we could see episodes any time we wanted. I still find it somewhat miraculous!
There are 97 Doctor Who episodes that are lost. The standard actors’ contracts in the UK at the time limited the number of times and time period they could show reruns, so after that expired they were just taking up space and videotapes that could be reused. The master tapes of the first 253 episodes were all erased. Some have been recovered from other copies in various storage facilities, and from copies sold to TV stations in other countries.
What we do have is complete audio recordings of every lost episode from fans who would tape record them. Dedicated fans audio taping episodes did ensure future generations could experience those early episodes in some form! Many of these episodes have now been released as audiobooks with the fan recordings plus added narration to describe the action.
could you imagine The Enterprise having like a yearly inspection and Kirk bugs out every time because the best running ship in the fleet certainly doesn’t become so because they follow therules. He has to remind the crew a week in advance to actually call him Captain and use formal titles. Bones and Scotty’s shared bathroom which is one hundred percent a liquor cabinet/distillery cannot be a thing.
Sulu has to collect all of his plants out of everywhere that’s not the Botany Labs and hide the illegal ones he picked up during their journey in his quarters. Scotty has to remove all of his Scotty-Approved-Modifications from Engineering. Spock can’t work four shifts in a row and break the ensigns that challenge him in the gym to sparring matches. Bones can’t medically offer alcohol to anybody. Uhura needs to not curse every ten minutes, in any language. Chekov needs to focus more on his console and less on every pair of legs walking by his station.
Like, what if his name just happens to be Montgomery Scott, so all of his friends started calling him “Scotty,” and then every time he was introduced to a new person, they would be like “Oh, are you Scottish? My uncle was Scottish!”
And finally, he just gets sick of explaining the situation, so he starts replying with “aye, laddie!” But then it turns out that the person he said that to was Captain Kirk, and he doesn’t want to admit that he lied to his new commanding officer, so he has to keep speaking in a ridiculously over-the-top brogue and commenting constantly on how much he loves drinking Scotch, and by the time that he realises that Kirk would have found humour in the situation, he’s in too deep and can’t stop pretending, and it gradually just becomes his normal speech pattern.
Then, years later, the Enterprise is being inspected by a Starfleet engineer who’s actually Scottish, and Scotty takes him on a walking tour of his warp engines and is all like “Auch! Here be me wee bairns!” and the other engineer is just like “what the fuck is wrong with you?”
I take the fact that James Doohan is Canadian as evidence of this theory.
Scotty hacking into his Starfleet personnel file to alter his place of birth.
Scotty soundproofing his quarters on the Enterprise so that no one can hear him teach himself to play the bagpipes from instructional videos.
Scotty making a great show of taking a shuttle down to Aberdeen to “visit his family” every time the Enterprise is in Earth orbit and then, once on the ground, discreetly site-to-site transporting himself to Vancouver or whatever.
None of these things are out of character or beyond his technical ability.
Yeah, but also in character: Jim Kirk has known since Day 1 that Scotty is not, in fact, Scottish, but is just sitting there waiting to see how far Scotty is willing to go to keep the story going. It started out as an “enough rope” situation but now it’s one of Jim’s greatest ongoing sources of entertainment and he wouldn’t admit at gunpoint that he knows.
Honestly, Kirk would actively claim to have met Scotty’s Extremely Scottish Family/visited them in Aberdeen just to keep it going.
a bajillion years ago, i read james doohan’s memoir, in which he stated that:
1. his on-screen scottish accent is nowhere near accurate
2. he did that on purpose, so that viewers could actually understand what the hell he was saying
wupacing 