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Gene Roddenberry would famously write in his novelization that Spock thought of Kirk as his “ t’hy’la,” a term that can mean “friend,” “brother,” and “lover.” Spock’s status as an outsider, the challenges that he faced in presenting himself to the outside world, and his difficult relationship with his own identity all resonated with queer fans. Kirk and Spock were the original “slash” pairing. Spock has been a queer icon since the original Star Trek. This is a logical evolution for Spock as a character.
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Keitel was famously the first openly trans and non-binary series regular on primetime American network television. “The Serene Squall” reinforces this subtext by casting Keitel in the role of Angel, the character confronting Spock with these ideas. More than that, it works as an effective metaphor for evolving understandings of gender, specifically the idea that one’s gender need not be biologically determined or strictly binary. It’s a genuinely thoughtful angle on a familiar character arc.
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The question isn’t what you are it’s who you are.” Spock doesn’t need to define himself by the false binary of being either human or Vulcan. It is to the credit of Strange New Worlds in general and “The Serene Squall” in particular that the episode finds a fresh new angle on this question, by suggesting that the answer might be “neither.” As Captain Angel (Jesse James Keitel) advises Spock before abandoning the Enterprise, “That is and always has been a false choice. As somebody who is half-human and half-Vulcan, which path does he walk? This arc was a source of fantastic character drama for both Leonard Nimoy and Zachary Quinto. Building off the character’s long history as “ a child of two words,” “The Serene Squall” returns to the classic tension within the science officer’s character. The most interesting stuff in “The Serene Squall” is all happening in subtext, in the way in which the episode is built around the character of Spock. Like the previous six episodes, it consists of familiar elements arranged in familiar patterns, better than some earlier examples from the franchise’s history and worse than others. At worst, it encourages Irish guest actor Michael Hough to present the franchise’s most cringeworthy take on Irishness this side of “ Spirit Folk,” if not “ Up the Long Ladder.” There is very little of particular note here. At best, it allows Anson Mount to be charming in an underwritten subplot. Early in the adventure, the ship is trapped within “a net, except made with lasers” that “appears to be growing smaller,” evoking the central premise of “ The Tholian Web.” The climax of the episode, in which Spock (Ethan Peck) has to stage a theatrical declaration of love, recalls a similar sequence at the climax of “ Ménage à Troi” in which Picard (Patrick Stewart) has to espouse his love for Lwaxana Troi (Majel Barrett Roddenberry). “The Serene Squall” blends that template with a familiar hijacking narrative, recalling episodes like “ Starship Mine,” “ Basics,” “ The Killing Game,” “ One Little Ship,” and “ Shockwave, Part II.”Įven smaller moments feel ripped from other episodes. Space pirate adventures became a staple of the later series following Roddenberry’s death, with examples like “ Gambit” on The Next Generation or the mirror universe episodes on Deep Space Nine. Of course, that never actually stopped the franchise. Ironically for a series that many claim is returning the franchise to its roots, it is a “space pirate” episode built around one of the most tired of space opera clichés - and one that Gene Roddenberry expressly forbade on The Next Generation, according to Jeri Taylor. The actual plot of “The Serene Squall” is standard Strange New Worlds stuff, a grab bag of familiar Star Trek tropes assembled in a fairly unimaginative manner to fill around 50 minutes of television. There is an interesting allegory at the heart of “The Serene Squall,” but it ends up muddled by a clumsy and thoughtless execution. This discussion and review contains spoilers for Star Trek: Strange New Worlds episode 7, “The Serene Squall.”