Season Reviews, Star Trek: Picard, TV

STAR TREK: PICARD (Season 2) is a frustrating, contrived wallow in nostalgia

If ever proof were needed that the writers and producers of modern Star Trek study what audiences think and feel about their shows, then Star Trek: Picard’s second season is most assuredly it.

The first season was a defiant aberration even in the context of Star Trek’s modernisation. Ostensibly a character study, the first Star Trek series directly focused on a popular icon from the broader franchise, Picard was deliberate in just how determinedly it refused to play to the gallery of Star Trek expectations. We only saw Starfleet and the Federation in passing and they were reconceptualised, in the wake of the Trump Administration, as at best an insular, ignorant organisation driven by paranoia, at worst an openly corrupt government. There was no glistening starship our characters travelled on. No exploring new worlds.

This made sense, in broad strokes, given what Picard was designed to explore. Sir Patrick Stewart agreed only to return for a deconstruction of his legendary Enterprise Captain; aged, lost at the end of a century he no longer recognises, haunted by his inability to save a population formerly made up of ideological enemies from a natural catastrophe. Surrounding him with newly invented characters, placing him far from the world of Starfleet he was so closely associated with, the first season of Picard worked to take Jean-Luc on a journey to rediscover the spirit he had lost. A dark series, it dared to suggest the 24th century future fans had imagined after Star Trek: Nemesis was quite different from what would have been expected.

Which, in part, is why Season 2 immediately reverses track. Star Trek: Picard gives in to audience expectation, maybe even pressure, to try and tap not just a 1990s but also 1980s nostalgia for the franchise. It largely fails at both.

Continue reading “STAR TREK: PICARD (Season 2) is a frustrating, contrived wallow in nostalgia”
Season Reviews, TV

THE BOOK OF BOBA FETT should have stayed in the Sarlacc Pit

Set to go down in television history as one of the most bizarre misfires in the streaming era, The Book of Boba Fett is both simultaneously absolutely fascinating and profoundly dull.

That is quite some trick from the creative forces within the Disney Star Wars family, who since LucasFilm was bought out in 2012 and the biggest science-fiction franchise in history was revived as one of the dominant multimedia IP’s, have presided over a distinctly mixed bag of content. For every The Force Awakens, you end up with what previously might have been termed a Rise of Skywalker, and from now on could well be designated as a Book of Boba Fett.

Quite how they managed to so staggeringly get this wrong is perhaps the biggest mystery about the whole project. It was steered by Jon Favreau, the primary mastermind behind The Mandalorian which, despite the flaws that show does have, is probably outside of The Last Jedi the most broadly critically acclaimed piece of modern Star Wars that we’ve seen produced, which has managed to seep into popular geek culture relatively swiftly. Star Wars stalwarts such as Dave Filoni are involved. Seasoned directors such as Robert Rodriguez. All of the creative building blocks are in place.

This is without even mentioning that the show is about Boba Fett. Is there, outside of Darth Vader, a masked character in pop culture history, certainly in the Star Wars universe, who has been so mythologised in the last 40+ years? So how, exactly, has his first significant dramatic storyline been so utterly, completely botched?

Continue reading “THE BOOK OF BOBA FETT should have stayed in the Sarlacc Pit”
Star Trek: Lower Decks, TV, Writing

TV Review: STAR TREK: LOWER DECKS (Season 2)

Out of every modern Star Trek series currently on air, Lower Decks bounced into its second season with the brightest springing step.

While not every Star Trek fan of old finds Lower Decks their cup of Earl Grey, amongst fans who do enjoy it, and indeed critics, Mike McMahan’s animated comedy clicked almost right away. Taking the precepts of Star Trek animation and vibrantly updating them with a beautifully drawn, Seth McFarlane-esque sheen, Lower Decks avoided the trap initial commentators feared: that it would be funny at the expense of Star Trek. This was not the case even from Second Contact, the opening episode, which established the core concept of a series revolving around the lowly crew members on the second rate Starfleet vessel, the U.S.S. Cerritos. Immediately, Lower Decks was an affectionate lampoon.

One of the key reasons Lower Decks worked, by and large, straight away, was the feeling that it was written and animated by people who truly loved and crucially understood Star Trek as an idea. McMahan, parlaying the TNG S8 comedy Twitter account stylistically into the series, saw an opening for spoof in the cheesy 1980s utopian formalism of The Next Generation and leaned into mockery that played, almost entirely, with the audience’s knowledge and awareness of the tropes it was spoofing, be it Captain’s Logs, holodecks programs or the crew dynamics on the ship. Lower Decks was never truly a series for franchise newcomers, it was always an affectionate love letter to Star Trek fans of the 1990s, and was unashamed of being so.

Season 2, therefore, works simply to build on what the first season established. It maintains the greatest level of consistency in a modern Star Trek series between seasons while managing to successfully take what worked in the first year and often amplify it. There is no doubt – Season 2 is, overall, a stronger year of Lower Decks than Season 1.

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Star Trek: Lower Decks, TV, Writing

First Impressions: STAR TREK: LOWER DECKS – ‘Second Contact’

As Star Trek: Lower Decks finally premieres in the UK on Amazon Prime Video, A. J. Black takes a look at the first animated Star Trek series in almost half a century…

Ever since the end of The Animated Series in 1974, Star Trek’s only previous foray into the sphere of animation, the franchise has toyed with another ‘cartoon’ version of the series, but has perhaps steered clear by dint of being defined as such. Star Trek: Lower Decks is not easily characterised, simply, as a cartoon.

Lower Decks, created by Mike McMahan, exists thanks to the proliferation over the last twenty-five years or more of adult-centred animated television series. McMahan himself wrote a chunk of Rick & Morty, the good natured, wacky Netflix animated series—Back to the Future on acid, basically—and that itself arrives in the slipstream of the even more renowned series—South Park, Family Guy etc—that took the nominal concept of animation as kids territory, cartoons established decades past with Tom & Jerry through to Wacky Races and The Flintstones, and deliberately tailored them for older audiences. Cinema has proven adults respond just as well, if not even better, to intelligent animation as children do, with the Pixar stable lighting up the box office while cementing themselves in the minds of ages the world over, as have to a lesser degree Japan’s Studio Ghibli.

McMahan’s series—certainly on the evidence of the pilot episode Second Contact—lacks the whimsy of Ghibli, and certainly the cosiness of Pixar, but rather contains the self-effacing, self-knowing confidence of a Bojack Horseman. Lower Decks seems to understand the position it holds in relation to the broader Star Trek universe and the world of animation itself and, consequently, does not try and reinvent the wheel. It is, in many ways, exactly the kind of show you probably thought it would be, based on McMahan’s previous work, based on the promotional material and trailers, and based on what those involved have been talking up for a solid year. The only surprise in Second Contact is how unsurprising it actually is.

This isn’t meant as a slight, either. Lower Decks is huge fun. It just isn’t, at least yet, anything more.
Continue reading “First Impressions: STAR TREK: LOWER DECKS – ‘Second Contact’”

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 Wars, TV, Writing

TV Review: THE MANDALORIAN (Season 2)

In so many ways, two seasons in, The Mandalorian is such a contradiction.

On the one hand, it represents precisely the kind of fan service that I have railed against the Star Trek franchise for wallowing in. On the other, it retains a sense of identity within the broader Star Wars framework, taking a strong cue from the Japanese samurai films of the 1950s and 1960s such as Yojimbo, Throne of Blood and Seven Samurai, not to mention American westerns of the overlapping period – some of which, such as The Magnificent Seven, took a cue from the pictures of Akira Kurosawa and such; indeed Seven Samurai heavily inspired George Lucas’ original 1977 space fantasy, to the point he even stole the stylistic scene swipe we still find Jon Favreau employing in The Mandalorian today.

Favreau’s show should not be as good as it is, quite frankly.

In one respect, it represents everything we should as a culture be railing against; the monocultural homogenisation of the franchise, in which every last drop is wrung out of a successful IP (something I wrote about fairly recently). In another, it has a confidence, durability, consistency and quality that raises it up beyond the kind of fan pleasing fiction the second season in particular stoops to. Because while the first season, set as it is in the shadow of the Galactic Empire’s fall at the end of 1983’s Return of the Jedi, plays with familiar elements and ideas from Star Wars, it primarily doubles down on the spaghetti western trappings of the galactic underworld the titular Mandalorian exists within. It works, as much as possible, to stand apart and craft a pocket universe within the broader recognisable framework of Star Wars.

Season Two does the exact opposite. It runs heart and soul toward both the Original and Prequel Star Wars trilogies and does a remarkable job in working to stitch together and unify them as never before.
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Film, Star Wars, TV, Writing

Milking the Franchise: STAR WARS, MARVEL & beyond

As Star Wars and Marvel announce their future plans, A. J. Black discusses the phenomenon of milking the biggest franchises in the world for all they’re worth…

Franchise cinema, let’s be honest, can be thrilling. It can transform movie experiences from solitary pursuits to collective endeavours.

In an age of deeply fractured politics and cultural conflicts happening across nation states, there is comfort in how Captain America taking on Thanos only for the entire MCU to ride in and support him galvanised everyone operating in that shared cinematic space to cheer in collective joy, no matter what your political or cultural persuasion. Many felt the same when Rey and Kylo Ren turned the Emperor’s fire back on him (though I’d argue this was a far diminished return than the Marvel example…). Denigrators of franchise filmmaking, of fandoms indulging in shared universes, miss this aspect – the collectivisation of a text which binds fans together.

It is often toxic, but it is equally as often magnetic and joyful.

There is, however, a limit to the reach and scope of such franchise endeavours for those, like me, who skirt the edges of fandom.

Marvel and Star Warsboth of whom Disney just announced a huge slate of projects for over the next few years—are not the worlds I personally am most invested in. My fandom interests lie elsewhere but even then, I am not a consumer who digests only Star Trek or only James Bond. Fandoms are frequently incredible communities filled with people who live and breathe the properties they love, and this is to be—sans the aforementioned toxicity—encouraged. Friendships are born. Partnerships are made. Respect can be mutual. I have seen these things happen. I have, in my own way, experienced them myself.

Yet it feels like we are sailing close to a perihelion of franchise dilution. A point where financial concern and milking a product for all its worth become not just the primary driver, but the only driving principle.
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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.
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Star Trek: Lower Decks, TV, Writing

TV Review: STAR TREK: LOWER DECKS (Season 1)

Conventional wisdom, ever since the very first Star Trek series in the 1960s, suggests that new shows take three seasons to find themselves. Lower Decks is now the first new Star Trek show to bust that myth.
The Next Generation only stopped trying to be The Original Series, and levered itself into the 1990s under Michael Piller while balancing a measured tone with space bound escapism, after two profoundly awkward seasons that have dated far more readily than the 1960s show. Deep Space Nine emerged from a staid chrysalis two seasons in once Ira Steven Behr engaged serialised storytelling alongside pulp adventure. Voyager, by its third year, tried to combine ongoing story arcs with recurring villains and a more consistent balance of episodes. Enterprise galvanised itself under Manny Coto after two lacklustre seasons, even if it was too little too late despite widespread and exciting changes. We will soon know if Discovery, under Michelle Paradise, has pulled the same trick – but the omens look good.

What do all of these examples have in common? By and large, a strong creative force at the helm at the point these shows found their feet. Voyager’s best years were arguably when Brannon Braga was heavily trying to shape the series, even if it lacks the same powerful creative as DS9 or ENT. Mike McMahan is that force but, and here’s the difference, he’s been around since day one. Lower Decks is very much his baby, to a degree previously unheard of in Star Trek. We might need to track back to Lower Decks’ chief inspiration, The Next Generation, to find a show which was so deeply tethered from the beginning to series creator Gene Roddenberry, and even then its success is attributable to many different cooks stirring the broth. Lower Decks is McMahan’s vision and you feel that from the very beginning.
There is little doubt the resulting show is an acquired taste but this sojourn into sweet-natured comedy is hugely faithful to Star Trek lore, imbued with a love of the subject matter, and hits the ground running without the identity crisis every Star Trek series that has preceded it faced.
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Film, TV, Writing

STAR TREK is at a cinematic crossroads – which path should it take?

Though we may have entered a second possible ‘golden age’ for Star Trek on television, the same cannot be said for the iconic franchise at the movies.
Forbes writer and movie critic Scott Mendelson, in a recent article, decried that Paramount’s experiment to transform Star Trek into a franchise worth of rivalling Star Wars, the MCU, even Pirates of the Caribbean or Transformers, is dead in the water after the box office failure in 2016 of Star Trek Beyond. He points out that while Star Trek 2009 and Star Trek Into Darkness both made a profit and are in the higher percentile of Star Trek films in financial terms, neither of them came anywhere close to making the profits witnessed in franchise films such as The Dark Knight or Skyfall over the last fifteen years. In all of these summations, he is arguably quite correct.

This topic has reared its head once again following two recent news stories. First, that the reputed movie script being worked on by Fargo and Legion scribe Noah Hawley has for now been shelved, on account of the story revolving around a topical killer virus. Secondly, that Quentin Tarantino’s much speculated film idea would be set heavily in the 1920’s gangster era. Paramount are reputed to be weighing a decision on which path to take for Star Trek at the movies – either of these options, or the fourth intended ‘Kelvinverse’ film for the reboot crew. If not three scripts ready to film, then three very different ideas. All of which place Star Trek at a fascinating crossroads.
The question is simple… which road should the franchise take?
Continue reading “STAR TREK is at a cinematic crossroads – which path should it take?”