So the new Star Trek movie opens in general release in less than ten days, and word is out that the film includes a brief appearance of Sulu’s husband and their adopted child. George Takei (who originated the role of Sulu way back in 1966 when the episode “The Man Trap” first introduced audiences to the voyages of the starship Enterprise) has said this is unfortunate, because it violates the original vision of the character. George has become, over the last few years, America’s favorite gay (metaphorical) uncle, and frequently his comments on pop culture, queer rights, homophobia, and related topics are spot on. But he’s completely wrong here.
Make no mistake, George isn’t saying that Roddenberry didn’t want queer people in the future. George has spoken before about the conversations he had in the sixties with Roddenberry about addressing sexual orientation in the story. Roddenberry thought it would be a bridge too far for the networks. Roddenberry had already fought tooth and nail to get an African-American woman and a Japanese-American man on the regular cast in prominent roles—and he felt he was already skating on thin ice. Also, if you look at some of the writing Roddenberry did in the notes to other writers working on the series and on the first motion picture, you’ll find references to Kirk, at least, having had affairs with men at least at one point in his past. So it isn’t that George thinks Roddenberry and the original vision of Star Trek without queers, it’s that George thinks that Sulu was obviously straight in the original, and that a better option would be to introduce a new character.
There are more than a few problems with this line of reasoning. The most important is simply this: if the first unambiguously queer character introduced into the Star Trek universe is a minor character that no one has ever heard of before, that leads to automatic tokenism. The audience will, regardless of their own feelings about queer people in real life, naturally see this new character as the gay crewman. He won’t be seen as an integral part of the universe who just happens to be gay, he’ll be seen as the character being added for no other purpose than to check off a list. If, on the other hand, a character who is clearly integral to the story is revealed to have been queer all along, that his or her colleagues have known about the same sex spouse all along and none thought anything was odd or remarkable about it, that shows that Star Trek is the future Roddenberry envisioned: where people are accepted on the merits of their character above all else.
The less philosophical problem with George’s argument is the assertion that this is a radical re-imagining of the character of Sulu that throws out everything we already knew about him. I’m sorry, George, I love you, but there is nothing in the way that you played Mr. Sulu in the original series, nor in the scenes, dialog, and actions that we ever saw on-screen, that precludes him being queer. Sure, that’s that one deleted scene from Star Trek: the Motion Picture where Sulu tried to awkwardly come on to Lieutenant Ilia—but first, it’s a deleted scene, so isn’t really canon, and second, a bisexual or pansexual Sulu is still a queer Sulu who might well end up falling in love with a man and deciding to settle down.
I’m not trying to knock George Takei’s acting skills, here. I’m just saying that queer people and straight people often don’t act any differently in the vast majority of day-to-day situations. There are many reasons that a metric ton of Chekov/Sulu fanfic was written long before the motion pictures or the reboot movies existed, for instance.
Finally, if you think that Roddenberry’s original vision is the only way the story of the Star Trek universe should move forward, we should circle back to those odd notes of Roddenberry’s about Kirk’s sexual past. Roddenberry was an adherent of a belief that was prevalent among some liberal thinkers in the sixties that sexual orientation was merely a social construct. That every human was really, deep down, bisexual or pansexual, and any proclivities otherwise were merely the result of social conditioning. That view isn’t accepted any longer; medical science indicates something those of us who have grown up queer in a homophobic society have been saying for a long time, the sexual orientation is an innate quality. Some people are innately hetero, some innately bisexual or pansexual, et cetera.
But if we must rigorously adhere to Roddenberry’s original vision, then having Sulu in one timeline prefer men, and in another be ambiguous is perfectly fine.
Ultimately, I think that Simon Pegg and the current producers are right: the original series is silent on Sulu’s orientation. This isn’t a change or contradiction of anything we knew about the character before. And having a major character who is already part of the canon revealed to have a same sex spouse is the better way for Star Trek to embody a bit of Vulcan philosophy: that the universe is made up of infinite diversity in infinite combinations.
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