As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…
Star Trek and God have an interesting relationship. For a show revolving around scientific discovery and set in the cosmos, the franchise frequently returns to Biblical allegory and religious mystery. The Wrath of Khan is no exception, even for an ostensibly secular film.
How else can the Genesis Project be defined than the product of a God complex? The scientists of space station Regula 1, as directed by Dr. Carol Marcus, are well aware of how powerful the Genesis device is. “We are dealing with something that could be perverted into a dreadful weapon” agonises her son and fellow scientist, David, in the wake of being contacted by the U.S.S. Reliant as they scout out test sites for the project. These are scientists tethered to the Federation but not driven by Starfleet’s rhetoric who appreciate they have the power to create or destroy life, and David seems positively terrified that Starfleet itself could be inviolate, could corrupt their science. “Every time we have dealings with Starfleet, I get nervous…”. It would be hard to imagine Gene Roddenberry’s pure vision of humanity’s future space navy containing any suggestions they could warp the power of God.
Nicholas Meyer, in his humanistic and flawed version of the 23rd century, is far less convinced of Starfleet’s purity. He has lived through the horror of Vietnam just a decade before his take on Star Trek’s future, having witnessed progressive democracies almost destroyed by ideological fear, not to mention raised in the shadow of Hiroshima and the work of Robert Oppenheimer, a scientist whose noble actions led to a century-defining blight on American history. The Regula scientists react in horror at Reliant’s Captain Terrell openly wondering if the life signs detected on Ceti Alpha VI (or what they *think* to be Ceti Alpha VI) can be transplanted. ”It might only be a particle of preanimate matter”. The Federation already have powers over matter and space that would have been considered God-like to earlier humanity and Carol Marcus chafes at his casual lack of humility in the face of such power.
Little do any of them realise that on the surface of the planet lies an expression of corrupted humanity, a sundered ‘God’ resting in his own personal Dante’s inferno.