A Hollywood producer, and former collaborator of Axanar director Robert Meyer Burnett, lays out how he believes the production’s endgame will play out.

Lukas Kendall, who worked on Burnett’s 1998 Star Trek fan-based comedy, Free Enterprise, posted a lengthy essay on the discussion board, TrekBBS, in which he described the constraints preventing quick resolution in the lawsuit brought by Star Trek owners CBS and Paramount Pictures against Axanar Productions and producer Alec Peters.

Producer and actor Lukas Kendall

Kendall wrote on TrekBBS:

People get swept up in the colorful legal motions being filed by both sides. Those are just theater. What is important is behind the scenes. This conflict, far from possibly facilitating the official licensing of Star Trek fan films, is holding them up — badly, wasting everybody’s time and hurting regular people.¹⁾

He explains why, prior to the Axanar suit, CBS turned a blind eye to fan productions. “It was legally and bureaucratically the only way to let them exist.”

For its part, Axanar and its producer, Alec Peters (whom, curiously Kendall does not mention by name, preferring to call him “the Axanar principal”), managed to find any way it could to “abuse CBS’ goodwill,” Kendall said, “and then some.” He continued:

This is something they and their followers will dispute…but please. They raised over a million dollars in multiple efforts. They used their donor funds to lease a warehouse … and turn it into a soundstage which they bragged would be a base for ongoing commercial ventures. They attempted to cast their film through the Hollywood agencies with professional talent. They shamelessly ran a store for bootleg Star Trek merchandise under the guise of “perks” for “donors” (like Axanar coffee—not making that up). They fostered an atmosphere—or at least did not discourage it—that Axanar was true Star Trek and the J.J. Abrams films were dogshit. They got in fights with other fan films. They built a cult of personality around the principal. … Lately, they’ve taken to censoring negative comments on their official website and forums like a bad parody of a communist state.²⁾

Kendall notes that Peters himself lies at the center of Axanar’s problems:

By his own admission, he paid himself a salary because Axanar is his full-time job. Sorry, but this is the opposite of what making a fan film is supposed to be. Axanar is not a hobby, it is a profession, allowing him to enjoy the lifestyle of a film producer and specifically a Star Trek film producer: adulation, creative fulfillment, travel, glamour and attention, paid for by Star Trek fans.³⁾

Kendall explains what Axanar may gain from its vigorous defense in the suit:

1. Peters and his pro bono attorneys can keep the case embroiled in the courts “for months, if not years.”
2. Bad press that embarrasses and annoys CBS and Paramount.
3. Use discovery to turn up unflattering facts about CBS and Paramount’s finances, business deals and ownership of Star Trek.⁴⁾

Indeed, the defense motion to dismiss si

If you think any of that (particularly no. 3) gives Axanar leverage, think again. All they are doing is making CBS dig in their heels. Legally, politically and in every possible way, CBS will never agree to a settlement that allows Axanar to be made. It would be a massive humiliation and an admission that they can be abused and bullied by people they perceive to be thieves. There is no way a corporation of that size (two corporations, actually) gets everybody to sign off on such a capitulation. Better to lose money than lose face.

It’s also impossible for Axanar to win their lawsuit. I won’t bother to dissect the court motions. If Axanar were to somehow prevail, it would basically means there’s no such thing as copyright. I would be shocked if they got as far as depositions, let alone trial. Just watch the principal’s web appearances (or don’t): what lawyer would allow him to be deposed?

So why is Axanar fighting the lawsuit? To some degree, because the principal is delusional—and he found a law firm that loves the publicity and is egging him on. But mostly, it’s because he has no idea how to get out of this mess. He just wants to postpone the disgrace of admitting he has failed his donors.

Kendall is a producer and actor, known for Lucky Bastard (2014), Basil Poledouris: His Life and Music (1997), in addition to Free Enterprise, in which he is credited for providing additional voices.

He is also known as the editor and publisher of the film music appreciation newsletter and website, Film Score Monthly.