Star Trek: Discovery, TV, Writing

TV Review: STAR TREK: DISCOVERY (Season 3)

Star Trek: Discovery’s third season is both a step forward and, in many ways, a step back for the new era of the Star Trek franchise.

Buoyed by the ending of a second season that sent the crew of the Discovery far past the point of any canonical Star Trek story to date, the possibilities were endless. It could throw off the shackles of nostalgia, of existing trapped within the fan fiction canon of the 1960s, and truly emerge into something new. Incoming showrunner Michelle Paradise, under the stewardship of our modern day Rick Berman, Alex Kurtzman, chooses to throw the U.S.S. Discovery into a world of uncertainty: a post-cataclysmic, disordered galaxy with the reduced United Federation of Planets, an imperious crime syndicate in heavy control, and a central mystery for the crew to solve. Discovery builds on Star Trek: Picard’s notion of a shattered world order, a universe of futuristic certainties rent asunder by cosmic events, poor governance, and the rise of conspiratorial and sinister entities. Like much Star Trek before it, the seeming fall of the Federation as we knew it tracks with the steady collapse of the United States as the bedrock of post-war geopolitical order in the 21st century.

This allows Paradise and her team of writers to present Discovery as the kind of anachronism Star Trek itself, to some degree, now is. Michael Burnham leads her crew into this unknown future where she is greeted in almost hallowed terms by the first Starfleet officer she meets, who suggests the “hope” of a unified Federation, separated through travel and communications by the mysterious ‘Burn’ event a century ago, is her (and her crew, but more specifically her). It is as close to prophecy without venturing down the awkward road Picard trod on those lines, but Discovery the ship ends up serving as an avatar of righteousness and goodness from the distant past, from the “golden age of science” as a future character at one point puts it. In a world filled with Federation officers used to reactive, insular actions, Burnham and the Discovery arrive with a hopeful joie de vivre about the universe which, surprise surprise, challenges the status quo in a way no other crew had done in a hundred years. Discovery serves as Star Trek’s own attempt to provide light amidst ominous darkness.

The problem ends up lying with a mixture of repetitive elements, unoriginal storylines, at points poor writing and a chronic over-reliance on a main character who is lionised, even almost canonised, to the point of a climactic moment that is not just unearned, but also truly, when you think about it, absurd. Continue reading “TV Review: STAR TREK: DISCOVERY (Season 3)”

Star Trek: Discovery, TV, Writing

First Impressions & Third Time Lucky? STAR TREK: DISCOVERY – ‘That Hope Is You’

Come the end of Star Trek: Discovery’s much anticipated third season premiere, That Hope Is You, I was left wondering if the title referred to protagonist Michael Burnham in more ways than one.
As premieres go, this one takes a calculated gamble. In solely featuring Burnham’s journey, having blasted her way 930 years into the far future ahead of the titular USS Discovery following the histrionic climax of Such Sweet Sorrow, writer and showrunner Michelle Paradise (alongside co-writers Jenny Lumet & CBS/Paramount Trek uber-producer Alex Kurtzman) operates on the assumption that Burnham continues to be the primary reason we’re tuning into Discovery. Has any premiere of a Star Trek season structured an opener quite like this? It had more in common with Lost’s Season 3 premiere A Tale of Two Cities, for me, which doubled down on the show’s principal protagonist Jack Shepherd as he was thrown into the unseen world of the Others on the mystical Island, with much of the supporting cast having to wait their turn an episode, or even two.

Given how Discovery’s playbook across Season Two very much aligned with the Bad Robot stable of serialised television, this comes as no surprise. Kurtzman is of that aegis, forged as a producer on shows which advanced serialisation across the 2000’s in genre television following the millennial boom in prestige cable drama, and under his overall direction Discovery has rarely embraced the Star Trek structural model of old. Star Trek: Picard was of similar stock earlier in the year, with only the recent Star Trek: Lower Decks defiantly returning to a largely stand-alone episodic format in line with The Next Generation-era. Opinions on which style better suit Star Trek vary far and wide but Discovery, a show which thanks to all kinds of behind the scenes changes and course corrections has struggled in its own skin, has always had one eye on being Star Trek for a new era.
That Hope Is You, by that definition, straddles the middle. It is defined by examining the future yet remains, stubbornly, partially stuck in the past.
Continue reading “First Impressions & Third Time Lucky? STAR TREK: DISCOVERY – ‘That Hope Is You’”