Star Trek Beyond is a good movie. Some might even say it’s a great movie. It’s certainly a sad movie, since it’s poor Anton Yelchin’s last film, not to mention that the film’s original intent was to honor the legacy of the late Leonard Nimoy. But for everything that’s great about it (“Night on the Yorktown”: GET INTO IT, soundtrack lovers), there’s one part that is apt to tickle the brain in an unpleasant way, and you won’t realize it until after you’ve left the movie. You probably won’t even realize what it is that bothered you about certain scenes until weeks or months later.
Or until you read this post.
The thing that probably bothered you was the fact that Idris Elba wasn’t allowed to be Idris Elba. Another thing that probably bothered you was how Elba’s character was indicative of the overall treatment of black men in the Star Trek reboot films. All of this reflects how black men are treated in entertainment and society overall.
Want to figure out how all of this relates to each other? Let’s get into it.
Before you get any further, you should know that there are spoilers in this post, so beware.
Idris Elba vs. Krall
When we see a film starring Idris Elba, we’re typically going to see Idris Elba, not Idris Elba as some monster-alien. Now, there’s nothing inherently wrong with Elba being an actor under prosthetics, but it’s really interesting that out of all of the characters and out of all of the non-existent black men we haven’t seen up until now, the one black guy we do see is covered up so we can’t see his moneymaker—his face. This isn’t even discussing the fact that even without the social commentary, the prosthetics just look cheesy. Sorry about it, but Krall, the villain Elba plays, looks like a Power Rangers character. So, so sorry, but it’s just not a breathable looking, moldable mask. Elba couldn’t act through it, so it just made the fact that he was wearing a full-face prosthetic even more apparent and unbearable.
As if the film knew that we as the audience would get tired of hearing Elba put all his acting in his voice to counteract the impossibility of acting through the mask, the film provided us and Elba a reprieve by allowing him to actually act to the camera as the human version of Krall, Balthazar Edison, a former United Earth Military Assault commander. After the U.E.M.A. was dissolved, Edison was grandfathered into the Starfleet program as a starship captain. We see him acting jovially with his crew in an old recording found on his old ship, the U.S.S. Franklin. But that’s the thing; it’s in a old recording. You never see Elba as a human in real time. You just see this in flashback. That’s a problem because it’s yet another way to remove Elba from the movie and Krall/Edison from his own humanity (and possible chance at redemption).
So what does this have to do with the treatment of black men in Star Trek? Well, looking solely at the reboot series, we have yet to see a prominent black male character. The only black speaking male character you have seen throughout this reboot series is doggone Tyler Perry, and that’s because he paid his way in. In Star Trek Beyond, we have one black redshirt and another black guy (another redshirt, but not security) walk onto the bridge. That’s it. In a universe as vast as the Star Trek one, the potential of the series to tell the story of inclusion and humanity in harmony is always limited by the storyteller(s)’ own biases, internal limitations or, maybe in some cases, fears. Even though the film thought it pertinent to show Sulu in a relationship, despite cutting out the actual scene of him kissing his husband, the series as a whole still hasn’t shown a black man in full capacity of himself.
Krall’s death vs. Khan’s redemption
How come Krall has to die, but Khan gets to live? In Star Trek Into Darkness, Benedict Cumberbatch’s Khan (aka John Harrison aka a whitewashed character) gets to go back into cyro sleep, even though he’s literally a weapon. Meanwhile, Krall, who is actually a sympathetic character (As you’ll read later), accidentally kills himself with his own space-age weapon after a series of fights in which Kirk is trying to stop him, if not kill him. Why, though? Why is Khan still alive in this world when Krall is the one who should be shown some sort of olive branch?
Yes, Krall was trying to kill everyone in Yorktown and potentially, everyone in the Federation. But so was Khan. To be honest, the whole “big bad trying to kill everyone” tactic is becoming reductive and, once again, limited thinking as to what the scope of Star Trek can actually encompass. But if a big bad has to die each film, then let that be consistent. Don’t give one villain a reprieve from death and kill Elba and Eric Bana’s villains in the other two movies.
What’s the most annoying part of Krall’s demise is that there was probably somewhere still inside Krall who still wanted to return to the man he was. His main problem was that the Federation left him and his crew out to die. He did what he had to do to survive, and that included him reducing himself down to the lowest of levels to live. Krall as Edison also had another issue that Kirk primarily dealt with; the existentialism of life. Both Kirk and Krall wondered what more there was to their lives, and why they were even doing what they were doing. Both of them had dealt with existentialism even before they sat in the captain’s chair; Kirk was aimless for much of his life before Starfleet, and Edison was a commander in the world’s space army, a post he enjoyed, and then his definition of himself was taken away when Starfleet came. One area Simon Pegg and Doug Jung could have expounded on this shared issue is have Kirk actually try to talk him down during their fight. Kirk could have tried some version of “I’ve felt lost, too” to appeal to Krall’s humanity (which is still there, since you see him begin to change back into a brown humanoid-type being). Instead, Kirk fails to use this knowledge and is instead focused primarily on stopping Krall by any means necessary.
Krall as the Black Lesson Giver
Ultimately, Krall is just another form of the black form used as a lesson giver for a white lead. Krall’s own humanity is never discussed; his humanity is treated in past tense even though you learn his motivations and reasoning behind his anger. Krall’s purpose isn’t to fulfill his own destiny; it’s to help Kirk complete his. Through Krall’s downfall, Kirk comes to the conclusion that his place is with the Enterprise after all. However, there was possibly another way Kirk could have learned this without Krall basically sacrificing himself for Kirk’s story to continue.
Krall’s entire story is something that could have been given 10 times more weight than it was. Krall being a black man who has had his sense of purpose stolen, his mental health denied (because Edison’s existentialism has given way to extreme depression), and his humanity stripped, forcing him to survive by any means necessary, only to be then denied a second chance to course-correct his life, is the black American man’s story in a nutshell. Krall wasn’t just “a monster.” He was a man who had everything taken from him and then was expected to be all right with it. He faced unimaginable things for over 100 years; what did anyone expect for him to become, a saint? After all of your crew dies and you can’t help them, you would also believe Starfleet doesn’t care about you. Starfleet brushing over their role in Krall’s creation sounds just like how America as a whole fails to understand how the country’s original sin still affects black America today. To appropriate a popular phrase, Krall’s life mattered.
What did you think of Star Trek Beyond? I invite you to give me your views on Krall and the film as a whole.
