Tonight will be the final episode of Battlestar Galactica to air until next winter. I will avoid any other discussion on the show to give everyone a chance to see the episode. Instead this week will deal with Ron Moore’s work, but look back at his work on Star Trek.
TrekMovie.com has a lengthy interview with Moore and I will just highlight a couple of points. One frustration in writing the show was that everybody was to be perfect–reducing the potential for conflict:
TrekMovie.com: Piller used to refer to the ‘Roddenberry box’ as in the Gene rules that there is no greed, people are perfect, etc. Did you find the ‘Roddenberry box’ limiting as a writer?
Ron Moore: I think we all did. I think there was a general consensus in the writers room in every season that we always chaffed at the notion that there were no petty jealousies and greed and all that. We railed against that on a daily basis, found ways to get around that, found ways to get through it with varying degrees of success. It was a constant problem that we just sort of gnashed our teeth about. It never made any logical sense or any dramatic sense. It just didn’t feel like it was a logical sense of where the Star Trek universe was going. I was always saying ‘the Original Series was never like this, the Original Series has plenty of problems with humanity, plenty of with jealousies and bickering and even racial prejudices are alive in the 23rd century.’ In “Balance of Terror” Stiles is overtly prejudiced against Spock just because he is Vulcan. And that isn’t the only instance of that. It made for drama and it made for conflict. It made the world work.
So when you tried to take all that out it just made it very difficult to tell stories that had much meaning to them, or any teeth to them, because you had to keep going back and make people much nicer and people couldn’t have true conflict and it made it hard to write the show in any kind of dramatic sense. And we were always bitching and moaning about it. And my personal theory was that Gene sort of started to believe in himself as more of a visionary than a writer at a certain point. He started to believe the stuff that he was creating a utopian future and wanted The Next Generation universe to be reflective of the utopian universe that so many people had told him he had been creating for all these years. So it started to become less about the drama, less about making a television show, and more about servicing this idea of what utopianism was going to be and how perfect humanity was going to be in the future as an example of how to live our lives by, as opposed to making a great television series.