TV Review: ‘Star Trek: Discovery’ – Season 2

The crew of the U.S.S. Discovery embark on a new mission with the help of one of Starfleet’s finest…

Warning! Contains SPOILERS

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Anson Mount joins Sonequa Martin-Green in season two of ‘Star Trek: Discovery’.

Starring:  Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Anson Mount, Wilson Cruz, Shazad Latif, Michelle Yeoh, James Frain, Tig Notaro

Series created by:  Bryan Fuller & Alex Kurtzman (based upon Star Trek, created by Gene Roddenberry)

What’s it about?

Placing Enterprise captain Christopher Pike in command, Starfleet orders the U.S.S. Discovery to investigate a mysterious and dangerous cosmic phenomenon…

In review

Star Trek: Discovery’s now concluded fourteen-episode second season is proof that the series has a bright future.  Season one may have had its detractors and provoked controversy amongst sections of the Star Trek fan community but those who may have neglected continuing with the series are missing out.

Season two of Discovery took the series in a slightly more hopeful direction in comparison to its darker war-focused (and although the Klingon war is over, they still have a role to play) first season but not without sacrificing the more mature and morally complex approach to the characters and storytelling we saw in the previous season.  Once again presenting viewers with a serialised season-long story arc, season two of Discovery deals with the appearance of the mysterious ‘Red Angel’ – an apparent saviour trying to prevent the destruction of sentient life across the universe.  Accompanied by cosmic red bursts of devastating energy, the Red Angel enigma initiates an emergency mission by Starfleet, who place Enterprise captain Christopher Pike in temporary command of Discovery who together with Commander Michael Burnham, Saru, Tilly, Stamets and the rest of the crew face the challenge of unravelling the mystery and securing the survival of everything and everyone they hold dear.

The Red Angel narrative proved to be an intriguing one, precipitating a central debate of science vs faith and with numerous teases and twists keeping viewers on their toes – the final reveal of the Red Angel’s identity (more on that later) a surprising one and subverting expectations and speculation.  As with the first season there are a number of other subplots interwoven throughout, the result of which at times threatens to convolute the main storyline but manage to unravel by the end of the season.  The addition of Captain Pike is one of the season’s most successful components, played wonderfully by Anson Mount (the only positive element of Marvel’s dreadful Inhumans series) who brings an assuring quality of leadership and humanity to the role.  It also helps that the character is serviced well in the writing as Pike is given a satisfying arc, with a bittersweet touch of the sombre as it deals with the gallant Starfleet captain’s eventual fate in the original series of Star Trek (as seen in classic two-parter “The Menagerie”) courtesy of some ‘time crystals’ – a convenient albeit necessary plot device that plays it’s part in the overall seasonal arc.

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The Mysterious ‘Red Angel’.

Discovery season two also sees the inclusion of the fan-favourite shadow organisation known as Section 31, except unlike how they are depicted in Deep Space Nine (which takes place a century after Discovery) they are an acknowledged, functioning black-ops division of Starfleet.  A point of confusion for long term Trek fans, perhaps, but it seems likely that this will be explored further and reconciled next season and/or in the Section 31 spin-off series which is currently in development but as it stands, the organisation has a significant presence that facilitates conflict with the regular Discovery group without disrupting the camaraderie between them.

Dealing with the pointy-eared elephant in the room, Discovery introduced us to a younger version of Spock with Ethan Peck tackling the role originally played by Leonard Nimoy and portrayed by Zachary Quinto in the J.J. Abrams film series.  After several weeks of baiting the viewer, Peck made his debut in episode six, entitled “Light and Shadows“.  Peck’s introduction is unexpected, presenting a mumbling, near catatonic Spock whose contact with the Red Angel has left him mentally frazzled.  The situation results in the delightful surprise of a visit to Talos IV (the setting of original Star Trek pilot “The Cage” – read the retrospective here) where Burnham enlists the help of the telepathic Talosians in restoring Spock’s faculties in “If Memory Serves” – one of the season’s standout episodes.  It’s from hereon we get a sense of Peck’s performance and whilst no-one could ever truly compare to Leonard Nimoy, he does a solid job of encapsulating those intricate elements of the character we know and love.  The writers of Discovery also, maybe to the chagrin of some, add new layers to Spock as we get glimpses of a less than perfect childhood where we learn of his struggles with a form of dyslexia.  It’s actually a very interesting addition to the history of the character and expands the decades old mythology of Star Trek in a way that doesn’t trample on what has gone before but only deepens it.

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Ethan Peck as Lt. Spock.

The characters of Discovery continued to grow during the season as do the relationships between the various crewmembers.  The inclusion of Spock, of course, provides an exploration of the bond – and disconnect – between Burnham and her adoptive brother and both Sonequa Martin-Green and Ethan Peck share some great moments.  Martin-Green has certainly come into her own this season with consistently strong performances, bolstered by the efforts of the show’s writers.  Not only does Burnham have to grapple with her relationships with Spock, Tyler and the Mirror Universe Georgiou – both now Section 31 operatives (under the command of Alan Van Sprang‘s Captain Leland) – but also the revelations of her past, principally her parent’s involvement with the clandestine organisation.  This triggers season two’s biggest and cleverly executed narrative flip (those wishing to avoid major spoilers should skip to the next paragraph now) which occurs in the aptly titled “The Red Angel“.  It’s here that we learn of the identity of the Red Angel: Michael Burnham’s mother (played by The Wire’s Sonja Sohn), long thought dead but in fact jumping through time as she attempts to prevent the decimation of all life in the Federation by the acts of an evolved A.I. known as ‘Control’.  This sets-up the conflict of the latter end of the season as the crew of Discovery fight to stop Control from unleashing universal devastation.  Again, the plot does tend to become tangled at times with so much crammed into the narrative, particularly in the final stretch of episodes but it’s a small criticism and something that can be applied to a lot of other contemporary series (think Westworld).

Doug Jones and Mary Wiseman – Commander Saru and Ensign Tilly respectively – continue to be standouts and get their share of screen time, with Saru returning to his home (following up on the Short Trek instalment “The Brightest Star”) as he and his people find themselves facing up to the predatory race overruling their existence and being unshackled from their fears as a prey species and Tilly wrestling with her spore-induced connection to the mycelial network via visions of her old childhood friend, May.  The Tilly/May subplot does perhaps go on longer than necessary, but it does tie into the welcome, if not wholly unexpected, return of Wilson Cruz’s Hugh Culber, ‘reborn’ courtesy of the mycelial realm which leads to some interesting soul searching and identity crisis.  This also affords Anthony Rapp the opportunity to further flesh out his character as Stamets’ reunion with Culber isn’t what he expects and causes him to reassess his future aboard Discovery.  The only black sheep in the casting is Tig Notaro’s engineer, Jett Reno, whose inclusion felt out of place with sporadic appearances and no substantial development, although their may be future potential for the character.

What is great about season two of Discovery is alongside the growth of the principal players, the writers take effort to give small but key roles to the ancillary characters (some of whom you would’ve been previously hard pressed to recall by name) with the likes of con officer Detmer (Emily Coutts) and navigator Owosekun (Oyin Oladejo – who gets to join an away mission in the excellent “New Eden”, one of the season’s most ‘Trek-like’ episodes) feeling more integrated than they were during season one.  More pivotal though is Airiam (Hannah Cheesman) in the Jonathan Frakes directed “Project Daedulus“, written by Michelle Paradise (wisely appointed as co-showrunner with Alex Kurtzman for season three).  Discovery’s cyborg officer had felt like a missed opportunity, yet this is undone in a single episode that boasts solid scripting and powerful acting from not only Hannah Cheesman but the likes of Sonequa Martin-Green, Mary Wiseman and much of the rest of the cast.  It all adds to the increasing sense of family amongst the crew, something which has always been key to the success and appeal of any Star Trek series and will hopefully continue to be nurtured in subsequent seasons.

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Starships Enterprise and Discovery unite to save the universe.

Discovery’s second season came to a dramatic and energetic conclusion with the gripping two-part finale “Such Sweet Sorrow” (fan-pleasing ties to the original Star Trek further enhanced by the sight of the beautifully realised Enterprise bridge, given a respectful 21st Century makeover to fit in with Discovery’s more modern design aesthetics) where there’s an additional twist to the identity of the Red Angel and the revelation of what exactly those cosmic red bursts are, culminating in a rousing and epic final battle with Control (now merged with the body of Leland in a manner that’s slyly reminiscent of Borg assimilation) and a game-changing set-up for season three that seeks to not only chart new territory for Discovery but also reconcile its place in canon, a task that’s somewhat messy and impossible to neatly sync-up given the five decades of continuity established beyond the original series.

In terms of the production, Star Trek: Discovery continues to present the viewer with feature film quality visuals and cinematic direction (especially when in the hands of either Jonathan Frakes or Olatunde Osunsanmi) that enhances the writing and together with the excellent cast performances results in a superb sophomore outing for the series.

The bottom line:  Star Trek: Discovery season two is an exciting, if occasionally jumbled, outing for the newest Star Trek crew that boasts decent writing, strong cast performances and quality production values.

All episodes of Star Trek: Discovery’s second season are now available to stream via CBS All Access in the U.S. and via Netflix internationally (Canadian viewers can watch it via the Crave TV service).

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

TV Review: ‘Star Trek: Discovery’ – Season 2 Premiere

The newest ‘Star Trek’ crew embark on a new adventure…

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The crew of the U.S.S. Discovery are ready to begin their next voyage as season 2 of ‘Star Trek: Discovery’ begins (image credit: CBS, used for illustrative purposes only).

Starring: Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Anson Mount, Wilson Cruz, James Frain, Tig Notaro

Written by: Ted Sullivan, Gretchen J. Berg & Aaron Harberts / episode directed by: Alex Kurtzman

Series created by: Bryan Fuller & Alex Kurtzman (based upon Star Trek, created by Gene Roddenberry)

What’s it about?

“Brother” : Captain Christopher Pike takes command of the Discovery with orders to investigate a mysterious and dangerous cosmic phenomenon…

In review

Star Trek: Discovery returns to screens with an intriguing and highly promising start to it’s second season. Following on from those enticing final frames of the season 1 finale, “Brother” picks up right where things left off with Discovery responding to an emergency distress call from the U.S.S. Enterprise. Viewers are thrust right into the excitement as Enterprise captain Christopher Pike (Anson Mount) boards the Discovery to take command in order to investigate a series of mysterious red bursts which have appeared throughout space and resulted in catastrophic systems failures aboard the Enterprise. The investigation ultimately leads to the stricken U.S.S. Hiawatha (where we meet Tig Notaro’s wonderfully dry Chief Engineer Reno), grounded deep within a chaotic asteroid belt and Lt. Commander Michael Burnham’s encounter with a strange vision of a red angel-like figure that may have some connection with the red burst phenomenon.

There’s an awful lot established here – the introduction of a new lead character for the season (Pike, of course), the set-up of the ‘Red Angel’ mystery, the post-war status-quo for the crew of Discovery and further exploration of Burnham’s back-story, her upbringing on Vulcan and her seemingly uneasy relationship with her adoptive brother, Spock. Thankfully (and aided by an extended running time for this episode) it never feels rushed or unfocused and enough time is taken to provide a reasonable amount of overall interest and anticipation for the story arc that lies ahead.

As Captain Pike, Anson Mount is a great addition to the series and much like Bruce Greenwood in J.J. Abrams’ Star Trek and Star Trek Into Darkness makes his own mark on the character originally played by the late Jeffrey Hunter in “The Cage”Star Trek’s original pilot episode. Mount is instantly likeable in the role, confident, authoritative but personable and engaging, he has an immediate rapport with the crew of Discovery and the writers take steps to address the distrust they may have after being betrayed by their former commander (Jason Isaac’s Gabriel Lorca). Mount is sure to be a highlight going forward.

Whilst Mount certainly makes an impression, Sonequa Martin-Green continues to be the central focal point of Star Trek: Discovery and she doesn’t disappoint and delivers on the solid material she is given. An opening voiceover reiterates Burnham’s renewed sense of faith in herself and her place in Starfleet whilst flashbacks to Burnham’s Vulcan childhood and her interactions with Sarek (James Frain) in the present add emotional value. The flashbacks also facilitate a glimpse of a young Spock, preparing viewers for the impending introduction of Ethan Peck as the adult version (who is heard, via voiceover, but as yet unseen) which is bound to stir matters up dramatically.

Whilst Martin-Green’s Burnham is undoubtedly the narrative focus of Discovery, Mary Wiseman’s Ensign Tilly is once again the heart of the series and the character who most exemplifies the positive values of Starfleet and the Federation – her wide-eyed, child-like enthusiasm balanced by an innate kindness and endearing humanity. Wiseman also has a lot of fun with the role and there’s some great interplay between her and her co-stars – particularly her friendship with Burnham – and the fumbling star-struck moment Tilly has with Pike is priceless. The ever-impressive Doug Jones makes an assured return as Saru and although there is less for him to do in this episode, he still has a presence and applies the same level of skill and passion he demonstrated during the first season. Anthony Rapp brings a similar level of commitment as Stamets, with a slightly more sombre and reflective twist as he mourns the loss of his partner, Dr. Culber (Wilson Cruz – able to participate via holographic messages) and announces his plans to leave Starfleet once Discovery’s current mission has been completed. This leads to some sweet moments between Stamets and Tilly that accentuate the building feeling of family amongst the crew, always an important part of any iteration of Star Trek.

The visuals of Star Trek: Discovery are again hugely impressive with epic, feature film quality production values – in fact there are moments where you’d be forgiven for thinking you were watching J.J. Abrams’ Star Trek (2009), especially during Discovery’s tense navigation of an asteroid field and an edge-of-the-seat space-pod set-piece as Pike and Burnham attempt to reach the Hiawatha. It’s all handled superbly under the direction of series co-creator and executive producer Alex Kurtzman.

Now that the Klingon War and Mirror Universe storylines have concluded, Star Trek: Discovery is free to chart a lighter and more hopeful course and that’s clearly intended from the outset. That’s not to devalue season 1, and those darker narratives provided gripping drama and helped define and galvanise the crew but it will be a welcome fresh direction for the series as it ties further into Gene Roddenberry’s vision of a positive future for humanity whilst continuing to tell stories about the issues of the day through the prism of compelling science fiction and identifiable characters.

With CBS’ plans to expand the franchise – from the hotly anticipated Jean-Luc Picard series, to the forthcoming animated comedy from the creators of Rick & Morty and the recently announced Discovery spin-off that will focus on the Mirror U Philippa Georgiou and the clandestine Section 31 organisation, despite the lack of movement on a fourth J.J. Abrams produced film it’s a great time to be a Star Trek fan.

The bottom line: The second season of Star Trek: Discovery launches confidently with a highly promising premiere with impressive visuals, strong characterisation and a tantalising mystery at its centre.

New episodes of Star Trek: Discovery are released Thursdays via CBS All Access in the U.S. and available to stream internationally every Friday on Netflix.

TV Review: ‘Star Trek: Discovery’ – Season One

How was Star Trek’s long awaited return to television?

ST Disc 01 - Title

‘Star Trek’ goes boldly once more in CBS series ‘Star Trek: Discovery’.

Warning!  Contains major spoilers for season one of Star Trek: Discovery

Starring:  Sonequa Martin-Green, Doug Jones, Shazad Latif, Anthony Rapp, Mary Wiseman, Jason Isaacs, Michelle Yeoh.

Series created by:  Bryan Fuller & Alex Kurtzman (based on Star Trek, created by Gene Roddenberry)

What’s it about?

As war rages between the Federation and the Klingon Empire, disgraced officer Michael Burnham is assigned to the U.S.S. Discovery, enlisted by her Captain to aid him in ending the conflict by all means…

In review

Launched last September, Star Trek: Discovery saw Gene Roddenberry’s beloved science fiction franchise return to television screens for the first time since the conclusion of Star Trek: Enterprise in 2005.  Received with trepidation from some fans but generating a generally positive critical response, season one of Star Trek: Discovery is arguably the strongest debut of a Star Trek series since 1966.

Created by Bryan Fuller and Alex Kurtzman (both of whom have previous history with the franchise) Star Trek: Discovery takes place in the 2250’s – ten years prior to the adventures of Captain Kirk, Mr. Spock et al and the U.S.S. Enterprise in Star Trek: The Original Series (and a century after previous prequel series Star Trek: Enterprise).  Given the advancement in real world technology, special effects in television and film and the tastes and preferences of audiences in 2017 there is naturally a certain degree of reimagining and modernisation in the look and feel of the series that, aided by a lavish budget afforded by it being produced for U.S. streaming service CBS All Access (and rolled out internationally via Netflix) provide Discovery with a feature film quality from the exemplary set, costume and make-up design to its stunning visual effects and beautiful cinematography this is a Star Trek series that truly blurs the line between television and film.

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‘Star Trek: Discovery’ boasts another solid ‘Star Trek’ cast.

Just as Star Trek: The Next Generation was a Star Trek for the 80’s and 90’s, Discovery is a Star Trek for the 2010’s where television dramas have become more complex and viewers more demanding.  Taking a long-form approach now common place for a TV series, the fifteen episode first season of Star Trek: Discovery forms one continuous story arc, commencing with the two-part premiere “The Vulcan Hello”/”Battle at the Binary Stars” which introduces Lieutenant Commander Michael Burnham (Sonequa Martin-Green), First Officer of the U.S.S. Shenzhou, under the command of Captain Philippa Georgiou (Michelle Yeoh) and whose crewmates include the Kelpien Science Officer Lieutenant Saru (Doug Jones).  In a refreshing departure from previous Trek series this premiere serves as a prologue to Discovery, the majority of its recurring cast and the titular U.S.S. Discovery herself not making their debut until the show’s third episode, in which Burnham commits mutiny, that despite believing she is acting in the interests of Starfleet and the principles of the Federation, leads to war with classic Trek adversaries the Klingons (sporting a radical and controversial new look that takes some adjustment to but ultimately gives the race a more elaborately alien appearance).

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A controversial new look for the Klingons.

Thus, the main narrative core of this first season becomes one about redemption as Burnham (who we learn was orphaned in a Klingon attack and subsequently raised by Spock’s father, Ambassador Sarek – played by Gotham’s James Frain) re-examines her values and strives to regain hope and her place in the universe.  This marks another departure from the other iterations of Star Trek in that the series is focused mainly on a character other than a Starfleet captain.

The premiere concludes with Burnham being stripped of her commission and sentenced to prison for her actions but in episode three (“Context is for Kings”) finds herself assigned as a ‘specialist’ to the U.S.S. Discovery, Starfleet’s most advanced vessel incorporating an experimental star-drive that allows the ship to tap into a universe-spanning, interdimensional ‘mycelial’ spore network and jump instantaneously to any given point in space.  The ship is captained by the mysterious Gabriel Lorca (Jason Isaacs), an uncompromising commander prepared to do all that is necessary to win the war, with Lt. Saru serving as his first officer and a crew including Lieutenant Paul Stamets (Anthony Rapp), who becomes the spore-drive’s ‘navigator/operator’ and is also Star Trek’s first openly gay regular character, his partner Doctor Hugh Culber (Wilson Cruz) and Sylvia Tilly (Mary Wiseman), an awkward but optimistic Starfleet cadet whose burgeoning friendship with Burnham helps to define both characters.

What’s immediately clear is that Discovery is a somewhat darker take on Gene Roddenberry’s baby, but in a manner that simply allows the writers, in true Roddenberry fashion, to examine the human condition and discuss the social and political issues of the day, coupling it with compelling character drama…those optimistic ideals of Star Trek are still there and peppered throughout the series as it becomes more and more ‘Trek-like’.  There may be aspects that some fans will nitpick about, but Discovery has to be approached with an open mind and it’s commendable that the writers have managed to strike a decent balance between catering to hardcore Trekkies and engaging new viewers who may never have seen Star Trek before.

Star Trek: Discovery boasts a superb cast with well-defined characters who grow and develop in leaps and bounds during the course of the season.  Sonequa Martin-Green is the reliable lead and Burnham’s journey is an interesting one, a human raised as a Vulcan who we see slowly regain her human heritage and deal with the mistakes she has made.  Doug Jones is a huge highlight as Saru, proving once again how adept he is at conveying raw emotion through heavy prosthetics, Jason Isaacs is gripping as the devious, sometimes brutal Lorca, Anthony Rapp infuses Lt. Stamets with a pleasing dose of Bones-esque irascibility and Mary Wiseman projects Tilly with the right mix of nervous energy and general likeability.  Joining the crew in “Choose Your Pain“ is Security Chief Lieutenant Ash Tyler (Shazad Latif) which is also one of two episodes to feature another original Star Trek character: intergalactic conman Harry Mudd, played with verve by The Office’s Rainn Wilson who returns in “Magic to Make the Sanest Man Go Mad“, a rather excellent time-loop romp in the vein of TNG classic “Cause and Effect”.  Much like Deep Space Nine, Voyager and Enterprise, there’s an initial element of conflict between the various characters but as the series begins to take shape the relationships gradually start to settle and by the season finale there’s that definite sense of family we’ve had with other Star Trek crews beginning to blossom.

It’s fair to say that Discovery’s Klingon arc isn’t always consistently prominent (although recurring guest star Mary Chieffo plays an important role as L’Rell) but the backdrop of war gives the writers the opportunity to tackle various moral and ethical issues and dropping more character-driven episodes into the mix – -including Trek novelist Kirsten Beyer’s superb Saru-centric episode “Si Vis Pacem, Para Bellum“ – helps the cast to really start hitting their groove.

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The incomparable Doug Jones as Lieutenant Saru.

Following a mid-season break, Star Trek: Discovery’s six-episode ‘second chapter’ saw the U.S.S. Discovery transported to Star Trek’s Mirror Universe (first featured in fan-favourite TOS episode “Mirror, Mirror”), ruled by the evil Terran Empire.  It’s an arc that sees the series kick things up a notch and numerous threads come together, culminating in revelations concerning two of Discovery’s crew – not only do we learn that Lorca is in fact his Mirror Universe counterpart but also that Tyler is actually Voq, the albino-skinned Klingon from the series premiere, a sleeper agent surgically altered and conditioned to appear human.  These twists, whilst more anticipated than unexpected (the seeds quite clearly planted) lead to dramatic consequences – not in the least for Burnham who had begun a romantic relationship with Tyler.  Shazad Latif handles the ensuing struggle between Tyler’s two identities with aplomb and the shifting dynamic between Burnham and Tyler is beautifully played.

Similarly, Jason Isaacs is able to let loose with uninhibited villainy as Mirror Lorca – right through to his blazing demise.  The same can be said of Empress Georgiou, with a returning Michelle Yeoh in delightfully devilish form, whose uneasy alliance with Burnham becomes a key aspect of the final episodes of the season.

Both the Mirror Universe and Klingon War arcs are wrapped up pretty quickly in the final two episodes of season one, not quite the intense earth-shattering finale some viewers may have anticipated but leaves the viewer with hope as Burnham, her status as a Starfleet officer restored, gives an emotional and poignant address about the true virtues of Starfleet and the Federation as entities of peace, understanding and exploration.  Saving its biggest punch for last, the finale (titled “Will You Take My Hand?”) closes as Discovery, en route to Vulcan to pick up her new captain, encounters another Starfleet vessel…the U.S.S. Enterprise!  This certainly opens up a galaxy of possibilities for season two of Star Trek: Discovery, a series that has shown good potential in its first season and can surely only get better? As Picard once said, “the sky’s the limit…”.

The bottom line:  A promising start to the newest Star Trek series, season one of Star Trek: Discovery boasts a solid cast and decent writing, that, coupled with strong production values has much to offer fans and new viewers alike.

All episodes of Star Trek: Discovery season one (as well as post-show companion series After Trek) are currently available to stream via Netflix (worldwide) and CBS All Access (U.S. only).

All images belong: CBS, used for illustrative purposes only.

TV Review: ‘Star Trek: Discovery’ S1 E03 “Context is for Kings”

Michael Burnham begins her journey of discovery…

This review contains spoilers.

Jason Isaacs as Discovery’s mysterious commanding officer, Captain Gabriel Lorca.

Starring:  Sonequa Martin-Green, Jason Isaacs, Doug Jones, Anthony Rapp, Mary Wiseman

Series created by:  Bryan Fuller & Alex Kurtzman (based on Star Trek, created by Gene Roddenberry)

Written by:  Gretchen J. Berg, Aaron Harberts & Craig Sweeny (story by Bryan Fuller, Gretchen J. Berg & Aaron Harberts) / Episode directed by:  Akiva Goldsman

What’s it about?

Lost and without purpose, disgraced Starfleet Officer Michael Burnham finds herself aboard the U.S.S. Discovery – commanded by the mysterious Captain Lorca…

Episode review

After its two-part prologue, the latest episode of Star Trek: Discovery feels like a proper beginning as we’re introduced to the titular U.S.S. Discovery (looking more impressive than it did in that infamous first teaser) and her crew, led by the mysterious Captain Gabriel Lorca – played by Harry Potter’s Jason Isaacs.

Picking up six months after being handed a life sentence for her mutinous actions aboard the Shenzhou, which led to the break out of war with the Klingons, we see a dejected Michael Burnham living without purpose and any hope for the future.  Rescued from an ill-fated prison transfer, Burnham finds herself aboard the U.S.S. Discovery, a Starfleet science vessel harbouring secrets and populated by a crew uncertain and resentful of Starfleet’s shift from a mission of peace and, well, discovery, to being the first line of defence in an interstellar war.

Sonequa Martin-Green provides another strong turn in the role of series lead as Burnham grapples with feelings of remorse and guilt, accentuated in some bittersweet exchanges with an old face:  former shipmate Lt. Saru (Doug Jones), now serving as Discovery’s First Officer and who remains puzzled by Burnham’s betrayal.  Luckily there’s some much needed levity facilitated by Mary Wiseman’s Cadet Tilly, whose wide-eyed enthusiasm with touches of self-doubt – and one or two neuroses – brings a breath of fresh air to proceedings and perhaps a friend for Burnham in an otherwise hostile situation.

Anthony Rapp also makes a memorable first impression as Lt. Paul Stamets, encapsulating the frustrations of a crew being conscripted for a purpose they weren’t meant for, Burnham becoming the focus of these misgivings.  As for the enigmatic Captain Lorca, Jason Isaacs is excellent in the role skilfully balancing the strength and conviction of leadership with a good dose of ambiguity to help paint a character we don’t yet know whether or not to trust, his secret project concerning strange energy producing spores only adding to the intrigue.

“Context for Kings” also throws in a measure of action and a dash of horror as Burnham, Tilly and Stamets join an away mission to a stricken sister ship whose crew (and a Klingon boarding party) have fallen victim to a blood thirsty alien creature.  It’s a little reminiscent of the third season Enterprise episode “Impulse” but an entertaining and tense addition to the story non-the-less, allowing Sonequa Martin-Green to further demonstrate her capabilities.

With the backdrop of war and the evident character conflict, Discovery continues to follow a darker path than the more optimistic iterations of Star Trek but that makes it no less appealing.  As the episode’s title suggests it’s all about context and the unfolding drama is affording great opportunities for character building.  There’s still some way to go as the writers and actors find their footing and hopefully the bleak situation the characters currently face will galvanise the crew and, as the show evolves, build the kind of relationships we’ve enjoyed in previous Star Trek series.

Lorca’s belief that Burnham has the ability to regain all she has lost points to a story of redemption and a re-discovery of those core values of the Federation that she still claims to hold dear.  The moral dilemmas laced into Star Trek: Discovery, coupled with the mysteries posed by and surrounding Discovery’s Commanding Officer – as well as the gentle unfolding of the narrative – infuses this newest Trek with intrigue and that ‘must watch’ quality that any good television series provides.

The bottom line:  Star Trek: Discovery continues to show promise as the introduction of the Discovery and her crew heightens the show’s appeal.

New episodes of Star Trek: Discovery (as well as post-show discussion After Trek) can be seen weekly via subscription services Netflix (worldwide) and CBS All Access (U.S. only).

TV Review: ‘Star Trek: Discovery’ Series Premiere

The beloved science fiction franchise returns, boldly, to the small screen…

‘Star Trek’ makes a much awaited return to television in ‘Star Trek: Discovery’.

Starring:  Sonequa Martin-Green, Michelle Yeoh, Doug Jones, Chris Obi, James Frain

Series created by:  Bryan Fuller & Alex Kurtzman (based on Star Trek, created by Gene Roddenberry)

Written by:  Bryan Fuller & Akiva Goldsman (“The Vulcan Hello”) and Gretchen J. Berg & Aaron Harberts (“Battle at the Binary Stars”) / Episodes directed by:  David Samel (“The Vulcan Hello”) and Adam Kane (“Battle at the Binary Stars”)

What’s it about?

Investigating an object of unknown origin, Lieutenant Commander Michael Burnham and the crew of the U.S.S. Shenzhou are thrown into a direct confrontation with old adversary, the Klingons.

Episodes review

51 years after the debut of its original series, Star Trek returns to the small screen after an absence of twelve years, following the conclusion of Star Trek: Enterprise – which left the air back in May 2005.  Produced by CBS for their All Access streaming service and rolled out worldwide courtesy of Netflix, Star Trek: Discovery is a lavish and promising addition to the Star Trek universe that feels fresh yet comfortingly familiar for long term fans of the franchise.  Created by Trek veterans Bryan Fuller (writer/co-producer on Star Trek: Voyager) and Alex Kurtzman (co-writer and co-producer of J.J. Abrams’ Star Trek and Star Trek Into Darkness), the series takes place ten years prior to the voyages of the U.S.S. Enterprise under the command of William Shatner’s Captain Kirk.

Serving as a prologue to the rest of the show’s fifteen-episode first season (the majority of the principal cast and the U.S.S. Discovery herself being absent until episode three), the two-part premiere gets things off to an engaging and intriguing start as we’re introduced to Discovery’s lead character, Lieutenant Commander Michael Burnham (Sonequa Martin-Green) as she serves as First Officer on board the U.S.S. Shenzhou, commanded by Captain Phillipa Georgiou (martial arts legend Michelle Yeoh) who quickly find themselves thrust into a tense confrontation with a rogue Klingon faction that places the Federation on the precipice of war.  Burnham’s back story is revealed via a series of flashbacks as we follow her from being orphaned as a child to being raised on Vulcan by ambassador-in-waiting and father of Spock, Sarek (Gotham’s James Frain) and her eventual assignment to the Shenzhou.

What’s clear from the outset is that the creators of Discovery have set about establishing something that manages to strike a delicate balance between producing a series that will not only appeal to fans but draw in a whole new generation of viewers.  After 51 years and some 700+ hours of television, engineering a fresh take on an old favourite is no easy task, yet Discovery achieves this quite successfully.  The first major departure is the decision to not have the series focus on the ship’s captain and proves a welcome one with Sonequa Martin-Green (The Walking Dead) turning in a decent performance and demonstrating plenty of potential as a strong and capable lead.  There’s also the heavily serialised nature of the story, whilst a construct employed in previous spin-offs Deep Space Nine and Enterprise it’s utilised to a more intricate degree here in accordance with co-creator Bryan Fuller’s intentions for the storyline to unfold episode by episode like the chapters of a novel.

Sonequa Martin-Green makes for a promising lead in ‘Star Trek: Discovery’.

Michelle Yeoh provides another strong female presence as Georgiou and there’s a wonderfully nuanced relationship between herself and Burnham (affectionately referred to as “Number One” in a nod to Majel Barrett’s character in original Trek pilot “The Cage”), the former bringing an almost maternal quality to her ‘role’ as mentor to the younger officer.  Martin-Green also has some great interplay with Doug Jones’ Lt. Saru, the Kelpien science officer who has a fun sibling-like rivalry with Burnham.  Much like he did in Hellboy and Falling Skies, Jones is once again a master at conveying subtle strokes of humanity through the prosthetics and alien characteristics.  James Frain evokes the requisite measure of wise intellect and cold logic in the role of Sarek (originally portrayed so unforgettably by the late Mark Lenard) and similarly to Yeoh, there’s a paternal element to his dynamic with Martin-Green’s character.

The Klingon threat is spearheaded by T’Kuvma, with Chris Obi infusing the part with the right amount of that familiar warrior instinct, although the redesign of the Klingons themselves is likely to be the most controversial aspect of Discovery.  They’re radically quite different and take some getting used to, yet the make-up and costume design is certainly impressive and gives the iconic race an appearance that’s more alien whilst retaining the overall Klingon ‘feel’ with an adherence to their principles of honour and glory in battle.  What’s interesting here is that the Klingon Empire has fractured into numerous disparate ‘houses’ which T’Kuvma seeks to unite and lead, fanatically, into war against the Federation in the name of Kahless – the forefather of Klingon society itself.  It’s handled in a manner that’s not quite as black-and-white as that sounds and there’s a definite sense that the writers are seeking to add dimension to the conflict by offering a deeper insight into the Klingon’s motivations.

The Klingons are given a new look for this new iteration of the long-running franchise.

Visually, CBS have spurred no expense with feature film quality effects, make-up and set design fully on display.  Perhaps wisely, given the level of the production, the producers have leaned towards a look more reminiscent of the alternate universe established on the big screen by J.J. Abrams’ Star Trek.  As classic and iconic as the look of the original series is, a direct translation wouldn’t hold up to viewers in 2017 and it only increases the scope and cinematic quality of Discovery.

Star Trek is heralded for its ability to delve into the human condition and comment on the issues of the day and in this era of social and political concerns and the rising threat of terrorism and religious extremism, Discovery is no different and deftly weaves these themes throughout.  This is what Gene Roddenberry and the writers of the original Star Trek always intended, coupled with rich characters and a vision of a hopeful, inclusive future for humanity – even in times of conflict – and there’s great potential for Star Trek: Discovery to continue that tradition.

The bottom line:  Star Trek makes a confident return to television with a visually dazzling premiere, bolstered by a promising lead and the potential to explore real-world topics in an engaging and entertaining manner.

New episodes of Star Trek: Discovery (as well as post-show discussion After Trek) can be seen weekly via subscription services Netflix (worldwide) and CBS All Access (U.S. only).

What did you think of the ‘Star Trek: Discovery’ premiere? Share your thoughts in the comments section below!

 

‘Star Trek: Discovery’ Enters Production!

The world’s most popular SF franchise is all set for it’s return to the small screen…

After months of speculation and behind the scenes delays, CBS has announced that production has commenced on Star Trek: Discovery with a painfully brief but non-the-less tantalising video giving short glimpses of some of the series’ production design (including the currently vacant Captain’s chair):

Video linked from YouTube via the JoBlo TV Show Trailers channel.

The sixth live-action Star Trek television series, Discovery was originally set to debut this May but with the departure of showrunner Bryan Fuller and casting announcements to be completed, CBS has wisely postponed the launch date indefinitely until all the pieces are fully in place and to ensure the series can ultimately live up to both its potential and the anticipation of millions of devoted fans the world over.

At this point little is known about the overall concept of Star Trek: Discovery bar that it will take place in the ‘Prime’ Star Trek universe (and therefore not connected to the current big screen alt-universe established by J.J. Abrams’ Star Trek) around ten years prior to the original Star Trek television series and will focus on the crew of the U.S.S. Discovery, principally the as-yet-unnamed Lieutenant-Commander to be played by The Walking Dead’s Sonequa Martin-Green .  Joining Martin-Green are Doug Jones (Hellboy, Falling Skies) as Science Office Lieutenant Saru – a member of an alien race that will be new to the franchise – along with Anthony Rapp as Lt. Stamets, the first openly gay regular character for a Star Trek series and Gotham’s James Frain as Sarek, the very same Vulcan ambassador and father of Spock played in the original Star Trek series and films by Mark Lenard.  Michelle Yeoh (Crouching Tiger, Hidden Dragon) will also feature as Captain Georgiou who will command another Starfleet vessel, the Shenzhou together with three Klingon characters to be played by Mary Chieffo, Shazad Latif and Chris Obi.

Despite his departure from the series, Bryan Fuller (who has history with the franchise, having launched his career on Star Trek: Deep Space Nine before serving as a writer/producer on Star Trek: Voyager) had already mapped out the serialised storyline of the show’s first thirteen-episode season as well as having written the opening two-parter and will retain a credit as executive producer.  Showrunner duties will now be handled by Gretchen Berg and Aaron Harberts with Eugene Roddenberry (son of Star Trek creator Gene Roddenberry) on board as an executive producer and Nicholas Meyer, director of feature films Star Trek II: The Wrath of Khan and Star Trek VI: The Undiscovered Country (also serving as co-writer on the latter as well as on Star Trek IV: The Voyage Home) in place as a writer and consulting producer.

Co-created with Alex Kurtzman, co-producer/co-writer of the J.J. Abrams directed Star Trek and its sequel Star Trek Into Darkness, Star Trek: Discovery will launch in the U.S. later this year via streaming service CBS All Access (with the premiere episode airing on network television) and will be available worldwide via Netflix.

CBS prepare to launch 'Star Trek: Discovery', the first 'Star Trek' television series since the end of 'Star Trek: Enterprise' in 2005.

CBS prepare to launch ‘Star Trek: Discovery’, the first ‘Star Trek’ television series since the end of ‘Star Trek: Enterprise’ in 2005.

Are you excited about Star Trek’s return to television?  Share your thoughts below!