Season Reviews, Star Trek: Discovery, TV

STAR TREK: DISCOVERY (Season 2) is an exhausting paean to 1960s nostalgia (TV Review)

If there is one criticism many fans would struggle to level at Season 2 of Star Trek: Discovery, it would be the classic “this is not Star Trek”.

You can understand, to a point, why some fans shouted that from the rooftops about Season 1. Bryan Fuller’s initial vision for Star Trek’s long awaited return to television alongside Alex Kurtzman resolutely set out to buck the storytelling trend you had come to expect from a franchise last on television at the tail end of a very different age. Season 1 was heavily serialised, darker, had a protagonist who had mutinied by the end of the second episode, didn’t even introduce the main ship until episode three, and had the ships Captain end up being the villain.

With hindsight, however, we never knew we had it so good with Season 1. Yes, it was a season compromised by behind the scenes complications, which may have resulted in the fractured balance of the Federation-Klingon War and Mirror Universe stories, but Season 1 pushed the boundaries of what we expected Star Trek to be. As the 90’s era wasn’t your Dad’s Star Trek, then Discovery was proving the 90’s was now your Dad’s Star Trek. It dropped the F-bomb. It went hard to starboard on serialisation. And it wasn’t afraid to craft protagonists like Michael Burnham or Saru (or naturally Gabriel Lorca) who were hard to like and who had to grow on us.

Season 2 in the wake of this spends fourteen episodes systematically undoing everything that made, or could have made, Discovery something special and unique. If Season 1 wasn’t Star Trek enough, then by Kahless, Season 2 absolutely was much “too Star Trek” from start to finish.

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Season Reviews, TV

STAR TREK: DISCOVERY (Season 1, Part 2): Reflections on the Journey

Star Trek: Discovery has enjoyed a fascinating first season, both in the context of its place in the television landscape and the historic Trek franchise as a whole.

For a start, it was a season of two halves, both shaped by different creatives with different aesthetics. Bryan Fuller’s original influence you can feel in the opening arc regarding the revered Klingon extremist T’Kuvma and how his death makes him a religious martyr, triggers civil infighting and launches a ‘crusade’ against the Federation who killed him. The parallels to modern religious fundamentalist terrorism are as potent an allegory as we’ve ever seen in Star Trek, with old series hand Fuller aware for any new show to work (especially one designed to relaunch the franchise on television), it would need to hold true to the precepts of what people loved about Star Trek: the fact it always reflected where we are as a modern 20th or 21st century society.

Those reflections became even more pointed following the mid-season break, as the combined stamp of Alex Kurtzman & Akiva Goldsman, plus key writers Gretchen Berg & Aaron Harbarts moved further into focus. The reflection became literal as the Discovery and her crew were thrown into the legendary Mirror Universe, a dark, inverse reflection of the Federation and humanity’s ‘future history’ first seen on The Original Series, and later continued on Deep Space Nine and Enterprise. For the most extended spell in the MU the franchise has ever given us, we are placed between the Terran Empire seen in ENT’s ‘In a Mirror, Darkly’ and TOS’ ‘Mirror, Mirror’, and the writers give themselves the freedom to explore this universe in much greater detail and tie together the majority of story and character arcs rumbling across the season, in the context of visiting this alternate universe.

What telling an extended story in the Mirror Universe affords the writers is the opportunity to make a pointed commentary and comparison with current global politics and social change. Many fans and commentators have made the point that given our current path as a species, our future is more likely to be the despotic, warlike, totalitarian Empire than the progressive, peaceful Federation – it’s not exactly a subtle point of analysis. What in TOS was a pulpy science-fiction concept designed to allow the main cast to play villainous versions of themselves, has now become far more of a genuine point of dramatic allegory.

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