~ In your story, the innocence of Naomi is nicely contrasted against the crew's rather less-than-innocent interpretations of the scene. We find ourselves eager to eavesdrop on the officers, as well.

~ The Vulcans behaved more passively than one would expect. Their lines seemed to be inconsequential, just a way to throw some Vulcan lingo into the mix.

~ The crew outside the door was borderline insubordinate in their behavior. I know it was for effect, but accidental eavesdropping might have been a better fit a starship crew.

~ Janeway's ire was very well played. A good commander will show her emotions, but will not inflict them on others.

~ The middle part, which is certainly prose rather than poetry, is begging to be reworked to fit the rest of the poem. It's where the turn is, where the absolute most important part of the poem is (except for that wonderful third line).

~ You might also consider letting the second to last line go away. "Stupid" just doesn't fit the rest of the vocabulary in the poem. It sounds argumentative and petulant compared to the rest of the pointed, deliberate verbiage.

~ This is totally this reader's opinion, right here. Consider single-spacing some of your lines together, like stanzas. Let them capture complete thoughts—not terribly unlike that middle paragraph, only grouped as lines.

~ While I frequently advise writers to use a larger font, this choice may be a little over the top. Pear in mind that this is opinion; there's no rulebook anywhere saying what font you should use. But Size 5 Courier Bold makes the letters so big that the user has to scroll a lot to read the piece. I will admit, on the other hand, that it is easier to see. Again, this is an opinion.

~ More important than anything, the dialog is very stilted, very stiff. It reads as though English is not one's first language? Specifically, there are far too few contractions and pronouns. For instance:

“We’re going to continue toward our next destination,” answers Harold. “We should have enough gas to get to our next destination. After that, we don’t know how long it will take us to find more gas. It depends on how advanced this city is now.”

      Would read more smoothly as

“We’re going to continue the journey; we have to,” answers Harold. “We should have enough gas to get there, but after that, I don’t know how long it will take to find more. It depends on how modern this city is.”

I suggest using contractions more frequently, such as we're instead of we are, for example.

~ There was a part of the conversation with the family that seemed very odd to me. The conversation centering around the children's puberty and potential for sexual activity and parenthood seemed very, very far from a) any conversation that children that age would initiate, and b) so unrelated to the main story that it felt awkward and forced. I'm not advising that one censor this kind of conversation; there's nothing wrong with the topic at all. This conversation simply doesn't feel like it belongs here.

You might want to look for better wording in some spots. For example: "When feet are tired / Or the sun gets hired..." "Hired" means engaged in an activity for material or monetary compensation—the sun is free! While not a technical rhyme, the word "higher" would work just fine here, not sacrificing rhythm or rhyme to any significance.

Although punctuation in poetry is loosely governed, I would still suggest you add some punctuation so the readers knows when your thoughts and images stop. Remember, there's a big difference between: "I like cooking, my pets, and my family." vs "I like cooking my pets and my family." A little punctuation can go a long way!

~ That first section could be broken into a couple or few paragraphs. It's pretty dense.

~ You've got some capitalization and punctuation issues, too. Example: "...media. just 30 minutes ago i saw..."

~ Now, there is a lot to work on with structure and word choice. You have several instances of plurality disagreement—for instance: "All of my perceptions wields the flag of destruction." In this case, the plural subject, perceptions, requires a plural form of the verb, wield. You have used wields, which would apply to a singular noun. The trees wield power; one flower wields power. There's quite a bit of this, but I'm not going to tear the poem apart to point them out; you get the gist.

~ There's problems with tense agreement, also. For instance, So how did my friend gained a victory vote? should read So how did my friend gain a victory vote? Again, several instances of this type of error.

~ Vocabulary. Hmm...this is a tricky one because poetry is so subjective and flexible. Layering multiple uses of a word can make vocabulary seem out of place at first, until the reader gains better understanding through context. In this case, however, much of the vocabulary is stilted, and the sentences don't flow right. Is it safe to observe that English is not your first language?

~ Metallica: For Whom the Bell Tolls
~ Eric Maria Remarque: All Quiet on the Western Front
~ Bruce Springsteen: The Nothing Man
~ (Throw in Pink Floyd's Our Possible Pasts for a bonus.)

"Everyone watches you, like you’re the most amazing thing they’ve ever seen. Yet somehow, you look at me like you understand what I feel"

          could be distilled down to:

"Everyone watches you, the most amazing they’ve ever seen. Yet somehow, your look understands what I feel"