"...[M]aybe agree with you about a lot of things on Takei but it only hurts your argument to use derogitory terms like "n------r" to talk about african peoples..."
We must consider George Takei in context, here. In the middle of the Vietnam War, as U.S. involvement was escalating to the more (and more) direct stage, Hollywood comes out with a new show: a show where a token African American, a token Asian American, and a token Russian all come together under the command of a white military leader who travels the galaxy in an armed spaceship, solving riddles and getting into fights with violent Romulan Asian and Klingon Asian tribes through no fault of his own.
Like Barack Obama, the greatest stealth killer of Africans yet known to world history, George Takei has an excessively publicized family history of racial oppression that didn't stop him from, at a young age, rising to mysterious national prominence. Takei, like Obama, is an inside man, using family stories of racial oppression to justify his own bigotry--as though the two balance out. They don't. In the times before Harvard, Senator, and President, Obama's grandfather may have suffered racial oppression, and in the times before Hollywood celebrity, Takei's father may have suffered racial oppression, but neither character's past excuses current or future racial oppression, let alone murder.
It does feel good, though, to some people. When Obama, who appears to be non-white, and who has oppression in his family's past, orders the burning of a village in Africa, some people are able to lull themselves into happiness over it because Obama, being non-white, must certainly be burning those people for a non-racist, rational, just reason. When Takei, who appears to be non-white, and who has oppression in his family's past, leads in the celebration of business as usual, some people are able to lull themselves into happiness over it for the same reason.
Not a big deal, though. Africans know very well that other Africans, even those with a history of sadness and terror in their families, are quite capable of becoming cruel, heartless warlords. It takes a bunch of googly-eyed, actually-racist "white" people, in America, to be so stupid as to think that "black" equals "fair" or "liberal" or "non-murdering." For Africans who've lived through decades of African-faced rulers, there is little illusion left. The past does not exonerate the present.
The countless millions of murders during the Vietnam War were smoothed over in America by a cultural smokescreen, a small part of which was Star Trek. Star Trek made diversity-based murder, colonialism, and endless military adventurism look good, fair, and ethnically-acceptable. It turned toilet-conferencing, child-napalming Lyndon Johnson into cuddly Captain Kirk. Takei's cheap, subservient, "helpful scientist" Mr. Sulu was the ongoing cultural genesis of turning the next generation of Asian American boys into weapons engineers who would know their place: designers, but not captains; munitions-developers, but not ethical philosophers.
Star Trek's third season hit just in time for the mandatory draft. Cultural engineering failed to produce enough volunteers to prowl through the jungles, murdering the humid little southeast Asians that kept getting in the way of the Federation. So, the original series ended, but as the Soviet economy telegraphed its collapse, on came Star Trek: The Next Generation, rolling through for a much longer, much-more-diverse run that carried America into Operation Desert Storm and the new era of endless African war.
Millions of dead people, again. Not just hypothetical, speculative millions, but actual millions, over decades, while Takei returns to prominence pushing a new generation of Star Trek movies alongside the incessant argument, "Genocidal empires are okay as long as their gay citizens and straight citizens are granted equal rights to view lolcats."
This is how it happens. This is how large groups of people get killed: by making people think that things are basically okay, and focusing their attention on trivialities in the meantime. The entertainment arm of the colonial African-slaughterers is always there, like a TV you can't turn off, congratulating you for achievements that have nothing to do with killing another million black kids. Putting the term "nigger" into Takei's mouth is unpleasant, but it is appropriate. His 40+ year career of making American imperialism more palatable has not only offered indirect assistance to the Japanese factions now trying to disregard Japan's post-WW2 pacifist constitution and remake it into an American client; it has lulled generations of Americans into thinking that, because a loudmouthed non-white person was smiling during the mob lynching of the Congo, everything was A-OK.
At the very, very best, Takei is a useful idiot; an utterly self-absorbed clown who is so sheltered, greedy, and proud of himself that he is unaware that he is greasing the wheels of genocide. Wrapped up in money and praise, he actually believes that 5 million dead Africans is less important than public perceptions of homosexual people in the world's wealthiest and most powerful nations. Even if his selfish ignorance does rise to such staggering levels, his satirical use of "the n-word" is appropriate--that of an ignoramus making sounds of which he does not comprehend the meaning. Of course people will be offended by his use of the n-word, but he doesn't care, because he's only interested in the lgbt Issue Of The Day. And, of course Africans will be offended by being killed in imperial war, but Takei doesn't care, because he's only interested in the lgbt Issue Of The Day. The satire is ugly, rude, and entirely apt. People who so dehumanize Africans as to make an African life worth far less than Three-Fifths of a Caucasian's, even a gay one, are made duly vulnerable to such verbal ploys.
Considering Takei's apparent command of the internet, though, we can't consider him a useful idiot in the traditional sense. He is informed. He knew, or should have known, about any of the mass murders you'd prefer to focus on. His deliberate choice, then, to focus his arrogant celebrity on western marriage, instead of a million-odd murdered black babies, necessarily reduces him to the level of spokesman for the empire he so eagerly parrots.
Star Trek is Real
To the delight of all his fans, the real-life Takei is Mr. Sulu. The U.S.S. Enterprise is real. In the early 1960s, with little Vietnamese kids getting crisped into Wing Night specials every week, Gene Roddenberry was preparing the U.S.S. Enterprise for Star Trek, and the U.S. Navy was preparing the U.S.S. Enterprise for Earth Trek. LBJ and Tricky Dick sailed the bajillion dollar hulk off to save villages by incinerating them, proud that the Negro Leagues had been merged with the Major Leagues--as though the latter in any way excused the former.
Plenty of people believed it did, though. America's protracted triumph over "civil rights" helped it feel good about the globetrotting murder sprees between the Korean War and Operation Desert Storm (and as we all know, when MLK tried to take on the war machine, a lone gunman, acting entirely without the assistance of the CIA, removed him). Follow the money, and the money leads you to the conclusion that the people who paid for the sets, stages, props, actors, nationwide distribution networks, movies, commercials, and plastic figurines vis–à–vis one Enterprise were, essentially, the same people who paid for the other Enterprise. The engineer in the background, making it all look respectable--the lubrication to Captain Kirk's photon torpedoes--was, and is, Takei and those like him.
Decades later, Top Gun and Mission Accomplished helped some Americans begin to be aware of an eerie coordination between Hollywood, the Pentagon, and lots of dead African people, but for many, a dreamy fog still hovers over the domestic front of the Vietnam War, as though the Pentagon's bloated superbudget was not writing mind-fodder for the taxpaying masses during the Cold War. Takei's pompous preening in 2013 is just another Zero Dark Lolcat.