Star Trek: The Q Conflict (#1)

Tie-in fiction loves a good crossover event and Star Trek, in particular, is full of them.

Outside of recent Trek crossovers with Planet of the Apes, Transformers and Green Lantern, IDW Publishing most recently have tied into Star Trek: Discovery‘s narrative trends with a heavy focus on the Mirror Universe (particularly the untold on TV story of The Next Generation side of the Mirror coin) and now The Original Series with the newly launched Year Five, but The Q Conflict is a different animal. It is the kind of story that could only take place in tie-in continuity for a variety of reasons, and more specifically the comic as opposed to the novel. It feels mostly in step with Doctor Who events such as The Two Doctors, The Three Doctors or The Day of the Doctor; tying together in this case the legendary Starfleet Captains and crews across the four most popular Star Trek series from the last 50 years.

The Q Conflict is, consequently, a huge gimmick which hinges on the excitement of seeing Kirk, Picard, Sisko and Janeway, and key members of their crews, working together. How long that gimmick may last is open to question.

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Star Trek: Waypoint (Special 2019)

By definition, the Star Trek: Waypoint specials are fairly hit and miss in their anthological approach to the Star Trek universe, telling stories which fit in the greater lexicon without contradicting canon. Eschewing Discovery and Enterprise, this latest special focuses on the remaining four series in crafting a short story for each show at different points in their timeline.

The easiest way to report on these tales is to take them story by story, paragraph by paragraph.

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End Game of Treks: Is Time-Travel Becoming a Storytelling Crutch?

In one of the busiest few months in science-fiction and fantasy popular-culture, the beginning of 2019 has seen three major franchises in cinema and on television become embroiled in what could be rapidly becoming a narrative crutch.

Time-travel.

The lacklustre Season 2 of Star Trek: Discovery (I *really* promise to stop talking about this soon) saw the crew of the Starfleet ship launch themselves almost 1000 into the distant Federation future to prevent a universe-destroying, rampant AI from wiping out all life. The gigantic conclusion to the Marvel Cinematic Universe’s first era, Avengers: Endgame, saw our superheroes enter the Quantum Realm and zip backwards across time to recover the universe-shattering Infinity Stones before the Mad Titan, Thanos, can snap his fingers again and wipe out half of all sentient life. And just this week, Game of Thrones saw the ultimate battle with the Night King and his army of the dead, coming to wipe out the living, which all hung on the fate of Bran Stark, a time-travelling tree-wizard.

Anyone noticing a pattern here? Three legendary franchises. Three titanic threats to the fabric of the entire universe. And in each case, the resolution of the paradox has the potential to lie in the bending of time.

We’re in danger of death by temporal mechanics if we’re not careful.

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Oh, Brother! Star Trek: Discovery (Season 2)

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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Tony Talks #9: Friends, Patrons, Countrymen…

So I’ve gone and done it, guys… I’ve launched a Patreon for Cultural Conversation which you can find here.

Some of you may subscribe to, or know about, my fairly successful Patreon for The X-Cast, my X-Files podcast, which has built a terrific community around itself over the last few years, so I have some experience with the platform. It’s a great way to try and make a little income doing what you love and I’d recommend it to anyone.

Originally you see, my hope was for Set the Tape to be a financial going concern but for various reasons (chiefly my own effort in doing it), that didn’t really happen, for me or the writers Owen and I assembled. Maybe we should have launched a Patreon for that site, I don’t know. Either way, this seems like an easy to maintain optional means of funding what I do for love anyway, which could facilitate me writing more full time.

FYI – nothing about the site will fundamentally change with this. I’ll still write with the same frequency. Some stuff will just end up a bit more bespoke and become Patron-only…

So why should you donate your hard earned moolah to help me out?

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The Sense of an Ending: Game of Thrones, Lost and Delayed Anticipation

There really is nothing like an ending.

We are obsessed, as audiences, with endings. At times we lose sight of how important the journey is of the stories we digest precisely because of how obsessed we are at what will happen in the grand denouement. Often it takes rediscovering a series long after it has all been said and done, taking in the breadth and scope of it, to truly understand and appreciate the piece as a complete entity. We judge so much on the destination. This is a fate about to happen with Game of Thrones, much as it did with the last true genre phenomenon of mainstream television: Lost.

Neither of these two shows are alike in any way except for one key aspect. Both of them saw their audiences become enraptured in the power of delayed anticipation like no other series before them. No other series outside of them have been so assiduously studied, examined, picked apart and theorised about, all of them, in many respects, to crack what has been most important to their audiences from day one: how they are going to end.

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Star Trek is Boldly Going… but to where?

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.

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