Remember the time that backstory was just that? Backstory.
Many of the most successful TV shows and movies are specifically built on a sense of their own mythology and world building. Game of Thrones has a series of vast novels to draw on which detail an incredibly complicated social and political eco-system, for example. Backstory, the details of the universes of these tales and the histories of many characters within the stories, provide the unseen depth and ballast to the tale we are being told, the tale we are invested in.
In recent years, however, the trend of this has begun to shift. Our biggest stories within popular culture are now becoming obsessed with backstory not just being developed to enable the narrative, they are instead *becoming* the narrative. Storytellers are actively attempting to try and ‘plug gaps’, for want of a better term, in continuity and canon, believing it seems that audiences are as obsessed with these minor details as the writers of these properties appear to be. We are losing the element of ambiguity, surprise and mystery.
We are losing backstory by exploring too much of it.
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.
Masquerade operates in a tricky position within the scope of Alias’ debut season and, arguably, marks the beginning of what in any other series would be a clear, delineated two-part episode.
Alias may appear ostensibly to be a highly serialised, propulsive rocket of a series, but it has flirted with trying to tell smaller, condensed arcs within that broader structure, often connecting episodes with specific themes or characters. Color-Blind and Reckoning, for instance, which focused on Sydney Bristow coming face to face with her fiancee Danny’s assassin; Mea Culpa and Spirit, which dealt primarily with a mole hunt in SD-6, and of course The Box which actually *was* a two-part episode and condensed Alias’ format down in a way the show would never as tightly repeat again, despite directly playing off a major narrative beat in the previous episode.
Masquerade is the beginning of such a double episode and the epilogue to, essentially, a three-part story.
If not a second pilot episode, Star Trek: Discovery certainly delivers a brand new mission statement with Season 2 premiere, ‘Brother’.
Looking back on the first season of Discovery, it was not only the strongest first season of a Star Trek show since 1966, it was also the most radical. Trek’s return to television under the original auspices of Bryan Fuller, later with significant support from Alex Kurtzman after a difficult road has now emerged as show runner and steward of Trek’s modern TV revolution on CBS All Access, was designed as a refreshed update from the era that spanned the late 1980’s through to the mid-2000’s. Gone were the stand-alone episodes, the 24/25 episode seasons, even the traditional structure of network television with one eye on syndication. Discovery was living in the now.
Season 1 threw a great deal at the wall. A ship and Captain we didn’t even see or meet until the third episode, allowing the first two episodes to serve as more of a prequel epilogue than a traditional Star Trek two-part pilot of old; pure, serialised storytelling which contained character development and story tropes such as the time loop episode within a broader season-long arc; and in particular, the Captain of the ship—the inviolate hero of all Trek series of old—turned out to be the villain of the piece, not to mention the fact our main character turned out not only to be of lower rank, but a mutineer to boot! Not all of it stuck, but Discovery from day one broke the Star Trek rules with a casual, F-bomb dropping swagger of its own.
Perhaps the most surprising aspect of ‘Brother’, therefore, is just how hard it works to feel like the Star Trek that long came before Discovery.
What many Star Trek fans considered an unlikely impossibility has finally, it seems, happened: the franchise is well and truly back on TV, and here to stay.
When Star Trek: Discovery launched at the tail end of 2017, after several delays, it ended the franchise’s 12 year exile from television screens following the slow demise of Star Trek: Enterprise, and the Rick Berman\Paramount TV dominance of the late 80’s and 1990’s – if not the most iconic in terms of popular culture, then without question the most successful era of Star Trek in its half a century of history. Discovery was a symbolic return for one of television’s most legendary series and, as every Star Trek sequel series has done over the decades, it divided opinion.
If you put aside Discovery’s quality, and the difficulties behind the scenes in bringing it to bear, one fact is indisputable: it has triggered a revival of Trek which is now heading in some very unexpected directions.
If there is such a thing as a TV comedown episode, it’s The Coup.
Not in the sense that The Coup is a bad episode of television. It’s a perfectly serviceable, mechanical Alias episode, even if it probably would fall fairly low in a ranking of what has been a strong first season. The Coup is a comedown in the fact that after a two-parter like The Box, where exactly do you go next? Almost akin to the difficult second episode, the one that has to clean up the narrative mess from the pilot, The Coup struggles to function in any way beyond that of an epilogue to a much stronger piece of television.