this post was submitted on 13 Dec 2023

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On the end of Discovery (leminal.space)

submitted 11 months ago by [email protected] to c/[email protected]

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I have mixed feelings about Disco ending. I really dug the first season's look at a Federation at war, and following the person who arguably set that war in motion dealing with her culpability. Add to that a ship that is part weird science lab, part haunted house. And yeah, I could live with the Klingon redesign.

It was inventive, it took risks and broke some moulds — and not always successfully, mind you. But I stuck with it from the hopeful "First three seasons are for growing pains" Trek paradigm.

Then the show took some odd turns. Rather than focusing on the crew's adventures in space and science, season two constructed a cosmic conundrum around Burnham and her family. I was still on board for the characters, even bearded Spock no matter how shoehorned in he felt. The show's unapologetic optimism was still a big selling point, too.

With season three came the time jump into a future that absolutely does not feel like it's a thousand years ahead of the previous season. The jump in technology should be proportional to a Viking longboat rocking up to the ISS, but it felt like a step back. And at this point, the extended crew of the Discovery was thoroughly sidelined: Burnham's personal relationships took priority over everything else.

For one example: As great as Michelle Yeoh is, the show basically redeemed a murderous space despot because... she reminded Burnham of her Starfleet counterpart?! I'm going to stop you right there, Captain "This is Starfleet" — this is a person who kept rubbing in Saru's face how familiar she was with the taste of his species' flesh.

I'll keep watching Disco through to its end because I'm invested in the remaining characters, but this isn't the show I apprehensively fell in love with anymore. Its strengths are all but gone, its faults enhanced, and its commercial(?) failure seems to have convinced the Powers That Be that future Star Trek needs to be grounded in nostalgia for previous eras.

I will miss the first season's promise of new, daring Trek shows writ large, and as much as I liked Pike and his crew in season two, SNW leans too heavily and knowingly on the franchise's campier canon for my taste (I know I'm in a minority with that opinion, and I'm not here to argue for or against). With peak TV fading, I'm afraid we won't see anything as bold as TNG, DS9 — or early Discovery — again.

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[–] [email protected] 2 points 11 months ago (1 children)

I also have mixed feelings about Discovery, but for different reasons. I love the characters and character writing. I disagree that the rest of the crew doesn't get any development - but a lot of that does come in later seasons. My complaints are about the plots. I think season 1 was the most problematic in that respect with progressive improvements over the next two seasons. (I haven't seen season 4 yet.)

Overly ambitious arcs, and over-the-top stakes make the story feel unbelievable
Discovery being the only crew able to address several civilization-threatening crises makes the universe feel small
Leaning on action and artificial tension (like, the ship will explode in 3 minutes) is a cheap way to seek engagement that deprives us of time seeing the characters drive the story

overly-ambitious arcs in season 1

It wasn't enough to try to take on the entire Klingon war at the same time as introducing a whole new cast. They also had to add an entirely separate, even more threatening crisis?

Making Michael responsible for both starting and ending the war makes you feel like the universe begins and ends on one ship.

We don't need constant threats of annihilation in the story to be engaged! The most compelling Trek writing has had much lower stakes. When we have had high stakes, like in The Best of Both Worlds and The Dominion War, the writers managed to make us feel like we were seeing a pivotal part of a much larger conflict. They took the time to build up to the big tension, and took the time to play out satisfying resolutions. And they didn't make it the entire show.

But things got gradually better,

over-the-top stakes in season 2

In season 2 they managed to limit themselves to a single major crisis. And they stepped it down from end-of-every-universe to end-of-all-life-in-one-galaxy. But still unbelievably over-the-top. Still too much artificial tension. Still too Discovery- & Michael-centric.

I love Michael, and I enjoy watching her be great at everything. But she can be part of a larger society of amazing people, and still be amazing herself.

somewhat lower stakes in season 3

And then they stepped it down again to maybe-end-of-what's-left-of-the-Federation.

In season 3 things slowed down enough, and they spent enough time letting more of the cast develop and drive the story that I felt like I could enjoy the story without gritting my teeth.

season 3 world-building

But I do have similar feelings: the world-building of what is essentially a whole new galaxy in season 3 feels underdeveloped. I was initially frustrated by what felt like an attempt to distance Discover from Star Trek. Trek is supposed to be about a future utopia - we have enough other works that wallow in dystopia. But it seems like maybe it's only supposed to be dystopian for one season? The ambitious writing is certainly still there.

I don't disagree with you about mirror-Georgiou's participation being unbelievable. The thing where everybody loves Michael to the degree where it becomes their primary motivation is too Mary Sue-like. Again I think that's at its worst in season 1. OTOH having Michelle Yeoh on the show is a lot of fun so I'm inclined to forgive the stretch in that character arc.

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[–] [email protected] -1 points 11 months ago (2 children)

I have to disagree on one count, the rest I agree with. The entire show sucked, every season. Had some good visual effects, but the story was garbage, the new klingons were absolutely a joke, and the individual episode plots were all just too soap opera and not enough Star Trek.

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