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.
Mission Impossible III may not be the strongest outing in the franchise, but it may be the most human.
Surprisingly, this works as both a strength and to the film’s detriment in the eyes of many. For everyone who considers Mission Impossible II the weakest episode of the saga, which you can find my thoughts on here, not far behind will be a detractor of JJ Abrams’ sequel to John Woo’s own take on Bruce Geller’s kitsch 1960’s series. This, to me, is hard to fathom, and not simply as a big fan of Abrams and the dominance his works have achieved on pop culture, both in television and cinema.
The reason this revisionist disdain for MI:3 is strange to me is because Abrams’ movie arguably saved the franchise, and allowed Tom Cruise to not just reinvent his character Ethan Hunt but position Mission Impossible as a series which blended fantasy escapism with a relatable heart and soul.
Nostalgia seems to be a double edged sword right now in Hollywood. What on the surface appears to be a comforting guaranteed winner in terms of audience satisfaction and cinematic box office is becoming something of a poisoned creative chalice. The lacklustre critical (if not box-office) responses to pictures such as Jurassic World: Fallen Kingdom or Ocean’s Eight, sequels to long-standing, well-regarded franchises; or Lucasfilm’s decision to put a hold on more A Star Wars Story anthology movies after the tepid box office (by Star Wars terms) of Solo, seemingly putting immediately paid to rumoured Boba Fett & Obi-Wan Kenobi-centric films. There is a nostalgia blowback in progress, the ripple effect of which we are only beginning to understand.
Is this a ripple effect that, like the Nexus in Generations, threatens to engulf the future of the Star Trek franchise?
ANNA ESPINOSA: I heard about your fiancé. Very sad. I thought perhaps it was a security execution sanctioned by your employer. Maybe you said something in your sleep you shouldn’t have. But then why would you be here in service for the men that killed your true love?
If Alias, in its opening two introductory episodes, flirted with the idea that the show is a post-Cold War espionage thriller attempting to understand and resolve the consequences of the 20th century’s longest-running and defining ideological conflict, then Parity absolutely goes for broke and seals the deal with a loving kiss.
The third episode, the first not penned directly by series creator J.J. Abrams, cements and solidifies existing, introductory concepts and brings in key new ones which will help frame Alias as a show with a sense of unique, genre identity. In many respects, Alex Kurtzman-Counter (as he was named originally, before losing the Counter) and Roberto Orci’s script is one of the most crucial in Alias’ first season. It is the first episode which directly picks up from the cliffhanger established in the previous episode. It introduces one of the most interesting (and underused) characters the show ever gave us. And, most importantly, it truly kickstarts the mythology Alias would embrace, grapple with, struggle with, and never truly satisfy its audience with over the next five years. Parity is a key, early touchstone for Abrams’ series.
In an attempt to try and tackle the onerous job of looking into the Star Trek book universe, thanks to the help of Memory Beta’s chronology section, I am intending to look at the saga in book form from stories which take place earliest in the franchise’s timeline onwards. This hopefully should provide an illuminating and unusual way of examining the extended Star Trek universe.
Part of this story takes place 5 billion years ago.
It feels an unexpectedly timely moment to read ‘Spock’s World’, one of the signature novels from Star Trek writer Diane Duane. Though written in 1989, it deals with an issue that resonates for anyone living in the United Kingdom today, as this writer does: a Referendum. A decision on the part of Vulcan as to whether or not to secede from the United Federation of Planets. Duane could not have possibly known her novel would strike a chord in this way, but it turns out to be a happy accident.
Vulcan, in many respects, has remained more of an enigma in Star Trek than it by any rights should have. While The Next Generation explored the Klingon race and culture in depth, as did Deep Space Nine, only prequel series Enterprise truly delved into the first alien civilisation Gene Roddenberry presented in The Original Series as important to the human experience, through the character of Spock. The Vulcans evolved into a species known for their control of emotions, living through principles of logic and reason, as a direct counterpoint to the rash, hotheadedness innate in the human race. Enterprise, certainly in its first few seasons, made this central difference in both cultures a crucial aspect of the entire series, with the first Starfleet warp ship preparing to explore beyond Earth’s solar system, despite warnings from the Vulcans that humanity was ‘not ready’.
‘Spock’s World’ was written over a decade before Enterprise was even conceived, indeed it debuted only a couple of years into The Next Generation-era. For millions of viewers, Star Trek was *still* at its core Kirk, Spock, McCoy and the crew of the original Enterprise, with TOS the yardstick to follow. Duane’s story takes place just after The Motion Picture; Kirk is an Admiral who takes a temporary devolution in rank to become Captain of the Enterprise once again. TOS *did* explore Vulcan society, principally in legendary Season 2 premiere ‘Amok Time’ which introduced the Vulcan physical and psychological ritual of pon farr, but that classic series never truly was concerned with backstory and mythology of worlds and societies as the TNG-era began to explore. Vulcan always, still, remained a mystery.