TV Review: ‘Star Trek: Discovery’ Season 3

‘Star Trek: Discovery’ goes boldly into the future…

The cast of ‘Star Trek: Discovery’ assemble as they raise the flag for season 3 (image credit: ViacomCBS).

Warning! Contains SPOILERS

Starring:  Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Wilson Cruz, Michelle Yeoh, David Ajala, Blu del Barrio, Ian Alexander, Janet Kidder

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

What’s it about?

Michael Burnham and the crew of the U.S.S. Discovery find a new adventure awaits them as they arrive in the 32nd Century…

In review

For its third season, Star Trek: Discovery enters unknown territory as Commander Michael Burnham (Sonequa Martin-Green) and the U.S.S. Discovery and its crew make their one-way trip 930 years into the far future of the 32nd Century – the farthest point in time in which a Star Trek series has taken place.  It’s another entertaining outing that allows Star Trek: Discovery to chart its own course whilst keeping an eye on the history of the franchise to deliver some surprising moments of fan service.  Things get off to a slightly uneven start as Discovery’s writers and lead producers Alex Kurtzman and Michelle Paradise contend with balancing standalone narratives with this season’s overarching story (more on that in a moment) but everything begins to ramp up and coalesce as the end line approaches, leading to an engaging tranche of final episodes.

Picking up right where season two left off, the third season’s opening episodes – “That Hope is You, Part 1” and “Far From Home“ deal with Burnham and the Discovery’s arrivals in the 32nd Century, which thanks to temporal mechanics comes one year apart.  Despite the defeat of the malevolent A.I. known as Control and sentient life being kept safe from annihilation, with the universe-spanning Sphere Data merged into Discovery’s systems, we find that the galaxy is in a troubled place following ‘The Burn’, a sudden catastrophic event occurring a century earlier.  In this incident, the majority sources of the warp drive enabling substance Dilithium simultaneously detonated along with any starship with an active warp core, claiming millions of lives and the decimation of both the Federation and Starfleet.

Given the scarcity of Dilithium, coupled with Starfleet’s diminished numbers and inability to operate properly it’s a job that only Discovery, with its unduplicated space-hopping spore drive, can achieve and on which the remnants of Starfleet must rely.  Hindering their mission is the threat of the Emerald Chain, a nefarious mercantile group that seeks to fill the galactic power void left by a contracted United Federation of Planets – of which its founding centre, Earth, is no longer a member.  It paints a grim picture that mirrors our currently fractured and disconnected world, but the hope that Discovery can uncover the origin of The Burn and find a way to rebuild Starfleet and the Federation is what forms the positive backbone of this season.

The backdrop to the seasonal arc is established in the early episodes of season three, which also facilitate the introduction of some new characters.  Upon her arrival in the future, Burnham meets Cleveland “Book” Booker (David Ajala, sharing some great chemistry with Sonequa Martin-Green) an initially roguish space courier from whom she learns of The Burn as well as the galaxy’s status quo and finds herself partnering with as she awaits the arrival of Discovery.  Book is an enjoyable addition to the series as he becomes a helpful ally to the Discovery crew and hopefully Burnham and Book’s exploits during the year-long wait for Discovery will be detailed in a future novel or comic book title as it’s something that’s sadly only touched upon on screen.

In keeping with the traditions of Star Trek, Discovery further expands the diversity of its cast and characters by adding non-binary actor Blu del Barrio and transgender actor Ian Alexander (who performed the role of Lev in video game sequel The Last of Us Part II) to the group.  Del Barrio plays Adira, a human joined with a Trill symbiont after its former host, Gray – Adira’s boyfriend – is tragically killed.  Del Barrio brings a wonderfully sensitive performance to the likeable Adira and given that their character is taken under the wing of Lt. Cmdr. Stamets and Dr. Culber, del Barrio gets to share some great scenes with series regulars Anthony Rapp and Wilson Cruz.  Ian Alexander, though given less to do, is equally effective as he features in flashback scenes as well as mysteriously appearing, sporadically, to Adira.

New crewmate Adira (Blu del Barrio) joins Cmdr. Burnham (Sonequa Martin-Green) onboard Discovery (image credit: ViacomCBS).

Rounding out the guest cast is Oded Fehr who is excellent as Starfleet’s noble, no-nonsense commander in chief, Admiral Vance and oddly, iconic film director David Cronenberg, who appears as the enigmatic ‘Kovich’.  Little is known about Kovich at this point but with Cronenberg confirmed to return in season 4, we’ll surely find out more.  Season three finds its big bad in the form of Osyraa, the Orion leader of the Emerald Chain – played by Janet Kidder (niece of Superman’s Margot Kidder).  Though more of a straightforward villain than a compelling antagonist, Osyraa proves a formidable enough foe as things ramp up towards the season finale.

Of the established Discovery cast, all have their moments this season.  Sonequa Martin-Green continues to be the centre of the series and is given a lot to tackle, given Burnham’s year working with Book and her doubts about her future once she reconnects with Discovery.  These feelings are eventually allayed but Burnham finds her time with Book has reawakened some old habits and despite good intentions, she rashly defies orders to rescue Book from the Emerald Chain in “Scavengers” resulting in her removal as first officer, much to Saru’s disappointment.  Speaking of whom, Doug Jones is once more a standout as Saru, who rightfully (and not unexpectedly) earns his promotion to captain of the U.S.S. Discovery.  Yet, the investigation of The Burn also leads to some personal stakes and a clouding of judgement when a Kelpien distress signal is discovered.  Burnham’s demotion leads Saru to entrusting Ensign Sylvia Tilly as acting first officer, a decision that on the face of it might seem ridiculous but is earned given Tilly’s growth as a character – her commitment to the command training programme and trustworthiness as well as her stint as ‘Captain Killy’ in the Mirror Universe, all make sense of the creative choice.  As Tilly, Mary Wiseman has always been the heart of Discovery and excels in demonstrating the young ensign’s abilities – and shortcomings – in a leadership role.

Wilson Cruz is also great as Dr. Hugh Culber, who after his post-rebirth soul searching and self-doubt finds he is now more at peace with himself and a point of moral counsel for his crewmates, evidenced in “People of Earth“ which deals with the crew’s trauma at what they’ve gone through and left behind.  A lot of this is focused through Discovery’s helm officer, Lt. Detmer, giving Emily Coutts a chance to step-up and enjoy some uncomfortably tense moments with Stamets as her mounting post-traumatic stress reaches a breaking point.  It may be a misconception that there shouldn’t be conflict between characters in Star Trek, it’s actually always been present since the original series, only side-stepped in the early years of The Next Generation at the behest of series creator Gene Rodenberry.  Trek has always utilised instances of conflict to facilitate drama but in the end, it always serves to create an understanding and strengthen the familial bond between the core characters – as it does so here.

As with previous seasons there are some standout episodes.  One highlight is “Unification III”, penned by series writer/producer and Trek novelist Kirsten Beyer.  It’s a revisitation of the Star Trek: The Next Generation two-parter “Unification”, where Ambassador Spock (the late, great Leonard Nimoy – who we get to see courtesy of footage from the TNG story) sought the reunification of the divergent Vulcan and Romulan races.  “Unification III” finds that this was finally achieved after the destruction of Romulus (see Star Trek 2009/Star Trek: Picard), with Romulan survivors living on the Vulcan homeworld, now known as Ni’Var – another world which has seceded from the Federation (at least it’s heartening to have learned that the Kelpien homeworld, Kanimar has since joined).  The episode helps to paint the wider cosmic picture in terms of post-Burn politics and relations and sees Burnham reunited with her time-travelling mother (the superb Sonja Sohn), who, in a neat tie-in to Star Trek: Picard, has been living in the future as a member of the noble Qowat Milat group.

The two-part “Terra Firma” is also rather good (following the disappointment of the Book-focused “The Sanctuary”), seeing the departure of Michelle Yeoh’s Philippa Georgiou as she prepares to head-up the gestating Section 31 series and a return (of sorts) to the Mirror Universe courtesy of the mysterious ‘Carl’ (CSI’s Paul Guilfoyle), guardian of an equally mysterious doorway.  Whilst it’s fair to say that the Mirror Universe may have been played out in Star Trek for now (perhaps more so since Discovery went there for half a season) it serves Georgiou well, providing reasons for the softening of her character since her arrival in the Prime Universe.  It also gives us a chance to see, in keeping with the spirit of Mirror U outings, the delightfully over-the-top dark and ruthless versions of familiar characters, this time including the Mirror Burnham (alas, mentions of Jason Isaac’s Gabriel Lorca don’t lead to a cameo), with Sonequa Martin-Green clearly relishing the role.  It also affords Michelle Yeoh an opportunity to grapple with a conflicted and surprisingly vulnerable Georgiou.  The biggest surprise of the season comes in “Terra Firma, Part 2”, learning that Georgiou’s trip to the Mirror Universe was simply a test of worthiness by Carl, who reveals himself as…the Guardian of Forever!  This tie-in to one of the all-time classic Star Trek episodes, “The City on the Edge of Forever” is a golden moment which expands the mythology of the Guardian (not seen since the also-classic animated Star Trek episode “Yesteryear”) by combining what was established in the televised version of “The City on the Edge of Forever” with Harlan Ellison’s original concept.  The two-parter concludes with Georgiou’s poignant farewell as she enters the Guardian’s portal to travel to an unknown time and place – leaving viewers awaiting the Section 31 series to see how Georgiou’s story continues.

The Guardian of Forever returns (image credit: ViacomCBS)!

It’s also worth mentioning that after its journey to Starfleet’s space-bound HQ (in “Die Trying“), Discovery receives a nifty futuristic refit (complete with bizarrely independent warp nacelles) and upgraded technology to bring her more in line with the standards of other 32nd Century Starfleet ships, including the U.S.S. Voyager-J and the Eisenberg-class U.S.S. Nog (a touching tribute to late Deep Space Nine actor Aron Eisenberg and his character in that series).  As for the Sphere Data, this begins to manifest itself via Discovery’s main computer (which plays into the events of the season finale), foretelling what was seen in the Short Treks instalment “Calypso”.

Season three is wrapped up in a trilogy of final episodes.  “Su’Kal” is a surreal outing in which the cause of The Burn is revealed – a Kelpien named Su’Kal (Bill Irwin), marooned at birth on a Dilithium rich planet and raised by various holograms in an elaborate holographic environment.  It’s a great episode for Doug Jones, not only because Saru gets to connect with another being of his race but also for the fact that the setting allows Jones to appear sans his Kelpien make-up.  The explanation for the Burn and Su’Kal’s link to it are a little vague although ultimately cleared up in the season finale, but in basic terms, it’s presented that when Su’Kal becomes emotionally unstable, so does the Dilithium around him.  Su’Kal’s trauma of his mother’s death caused such an event, creating a chain reaction on a galactic level, resulting in what becomes known as The Burn.  Whilst some might be disappointed by this reveal and its metaphysical nature, it’s actually an unexpected one and a welcome alternative to the predictability of The Burn simply being the responsibility of a villainous individual or group. Penultimate episode “There is a Tide…” is an exciting and unabashed homage to action classic Die Hard as Ossyra and the Emerald Chain seize Discovery (and thus its spore drive) placing Burnham in the main action role as the incarcerated acting captain Tilly and Discovery bridge crew plot to retake the ship, which provides an opportunity for stalwart ancillary characters Detmer, Owosekun (Oyin Oladejo), Rhys (Patrick Kwok-Choom) and Bryce (Ronnie Rowe Jr.) to play an active part here and in the finale.

The season finale, “That Hope is You, Part 2” brings everything to an action-packed and effects-laden close which, for better or worse, is generally par for the course with most long-form narrative streaming shows but although there is the tendency for Discovery’s producers to overindulge in the feature film visuals afforded the series (an example being the elaborate turbolift shaft sequence which becomes a little excessive) it does keeps the viewer hooked.  It gets all a bit frantic but the resolution sees the Emerald Chain defeated (albeit rather quickly and conveniently) and Su’Kal separated from the Dilithium rich environment, now providing Starfleet with a vital source to fuel the warp drive capabilities of its ships.  Surprisingly, Saru decides to depart Discovery and return to Kanimar with Su’Kal (at least temporarily we’re assured as Doug Jones is returning for the now in production fourth season).  That leaves the captain’s chair of the U.S.S. Discovery vacant, a position that Admiral Vance offers to Burnham – which after brief hesitation, she accepts.  It’s not a totally unexpected development as it was likely that the show’s main character would eventually end up in a command position and it puts things in an interesting position that will hopefully conclude Burnham’s arc of redemption.  The finale also sets the series on a positive and hopeful path as the work to reconnect Starfleet and rebuild the Federation truly begins and that promises a very Star Trek-like direction for the series going forward.

The bottom line:  Star Trek: Discovery transports viewers into the far off future of the 32nd Century for another entertaining chapter in the series with some standout episodes and fine cast performances.

All episodes of Star Trek: Discovery’s third 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: Picard’ – Season 1

A science fiction legend returns in the newest ‘Star Trek’ spin-off…

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Jean-Luc Picard (Patrick Stewart) embarks on a new mission in ‘Star Trek: Picard’ (image credit: CBS Viacom).

Warning! Contains some spoilers

Starring:  Patrick Stewart, Isa Briones, Alison Pill, Michelle Hurd, Santiago Cabrera, Harry Treadaway, Evan Evagora, Peyton List, Brent Spiner, Jeri Ryan

Series created by:  Akiva Goldsmen, Michael Chabon, Alex Kurtzman & Kirsten Beyer (Based upon Star Trek, created by Gene Roddenberry)

What’s it about?

As the end of the 24th Century approaches, on the anniversary of the devastating destruction of the planet Romulus, retired Starfleet Admiral Jean-Luc Picard is confronted by a mysterious young woman on the run, as a new adventure beckons…

In review

Recently completing its ten-episode run (via CBS All Access/Amazon Prime), the first season of Star Trek: Picard is an enjoyable beginning for the newest addition to the expanding Star Trek television universe.  From the creators of Star Trek: Discovery, Picard adds additional pedigree to its creative staff in the form of Pulitzer Prize winning author Michael Chabon (The Amazing Adventures of Cavalier and Klay), serving as co-creator/showrunner and who writes/co-writes a number of episodes throughout the season.  The series boasts the same impressive production values seen in Discovery, with near-feature film quality visuals and special effects complemented by some striking cinematography.  Headlined by lead star/executive producer Sir Patrick Stewart, Star Trek: Picard sees the celebrated actor return to the beloved role of Jean-Luc Picard after an eighteen-year absence (last appearing on the big screen in 2002’s Star Trek Nemesis), with a clear enthusiasm and investment in the material.  In the established traditions of Star Trek, Picard provides a mirror for current events weaving commentary on issues ranging from Brexit to global political turmoil and social segregation into its narrative, whilst also delving into the often mined but always intriguing concept of artificial intelligence.

Star Trek: Picard picks up two decades after the events of Star Trek Nemesis and the destruction of the Romulan homeworld in the wake of a catastrophic supernova.  Having resigned from Starfleet following their withdrawal from the Romulan relocation effort, implemented after a deadly revolt by the synthetic workforce brought online to increase the production of rescue ships, a dejected and morose Jean-Luc Picard has retreated to the family vineyard in France, embittered by the failure of the once cherished and noble values of Starfleet and the Federation which he long fought to protect.  Haunted by dreams of his late comrade and friend Lieutenant Commander Data (the ever-excellent Brent Spiner), the Enterprise’s former android crewman, Picard is lost and without purpose until one day, he encounters a young woman named Dahj (Isa Briones).  Hunted by Romulan assassins and drawn to Picard by hidden memories, we soon discover that Dahj is an advanced type of android created by Doctor Bruce Maddox (John Ales – portraying the character originally played by Brian Brophy in the classic Star Trek: The Next Generation episode “The Measure of a Man”) based on Data’s positronic neurons – essentially Data’s ‘daughter’.  Picard is unable to save Dahj but learning that she has a twin, Soji, unaware that she is in fact an android and working aboard a Romulan-captured Borg vessel known as ‘the Artifact’ to help rehabilitate the individuals assimilated by the Borg and now disconnected from the Collective.  Refused help by Starfleet, Picard gathers a crew of his own aboard a ship called La Sirena and sets out on a mission to reach Soji as a conspiracy by a secret Romulan order – the Zhat Vash – to eradicate all synthetic life before it threatens organics (prophesied by ‘the Admonition’), unfolds.

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The superb Jeri Ryan returns as Seven of Nine (image credit: CBS Viacom).

Assembled aboard the La Sirena (following a trilogy of opening chapters, all skilfully directed by executive producer Hanelle M. Culpepper), the main players are an eclectic – and flawed – bunch.  Joining Picard is the washed-out, hard-drinking Raffi Musiker (a conflicted yet maternal Michelle Hurd), his right-hand woman during the Romulan evacuation crisis who was subsequently forced out of Starfleet, robotics expert Dr. Agnes Jurati (Alison Pill) who joins the mission to search for Maddox – and whose troubled journey becomes a highlight, with a wonderfully quirky and nuanced performance by Alison Pill – and Elnor (Evan Evagora), a childlike but dutiful young Romulan warrior Picard once befriended and mentored as a boy.  Commanding La Sirena is the roguish cigar chomping Cristobal “Chris” Rios (Santiago Cabrera), who is a nifty blend of Hugh Jackman’s Wolverine and Harrison Ford’s Han Solo, with his own reasons for abandoning Starfleet and aided by a number of Emergency Holographic programs, each with their own specific purpose (medical, helm, navigation, engineering…even psychiatric!) and personalities to suit.  The main threat is provided effectively by Gotham’s Peyton List who plays Narissa, a Zhat Vash operative who is devilish and formidable, but also given some credible motivations.  List’s character is supported by her brother, Narek (Harry Treadaway), assigned to become close to and manipulate Soji – who is believed to be ‘the Destroyer’ who will bring about the annihilation of organic life – and Commodore Oh (Tamlyn Tomita), the sinister Romulan/Vulcan spy at the head of Starfleet security.

Picard’s voyage also facilitates the return of some old faces.  Aside from Brent Spiner’s Data, there’s an emotional reunion with former Enterprise colleagues Will Riker and Deanna Troi (in the Chabon co-written episode “Nepenthe” which is a standout of the season, featuring wonderful performances by Jonathan Frakes – who also directs a number of episodes – and Marina Sirtis), appearances from Hugh, the former Borg introduced in TNG (a now de-Borgified and sorely underutilised Jonathan Del Arco) and popular Star Trek: Voyager character and other ex-Borg, Seven of Nine (the superb Jeri Ryan).  Seven (rejecting her real name of Annika Hansen) is in something of a dark place in Picard, the tragic loss of her young protégé Icheb (sadly, original Voyager actor Manu Intiraymi is recast for a startlingly brutal flashback sequence) leading her to join a group of galactic mercenaries.  Jeri Ryan is well-served by the writers and excels in a performance that evolves Seven and takes her in an unexpected direction, allowing for more depth and complexity and she is a significant asset to the series.  What works especially well about the inclusion of legacy Star Trek characters in Picard is that they each play a part in the story and are not simply incorporated to provide fan service, which could have all too easily been the case.

As the show’s lead actor and focal point, Patrick Stewart is given a lot to play with and delivers a generally robust, passionate – and at times touching – portrayal of the 94-year old Picard.  There’s a slight shaky quality to Stewart’s performance – understandable, given his age – but it goes without saying that the mere presence of Jean-Luc Picard, a character that fans have longed to see return to the screen, is reassuring.  The revelation that Picard is beginning to experience symptoms of a terminal neurological condition (undoubtedly the Alzheimers-esque ‘Irumodic Syndrome’ depicted in the alternate future of the TNG series finale, “All Good Things”) adds a bittersweet touch and there’s an element of PTSD as Picard has to once again deal with his traumatic history with the Borg – which naturally provides some neat moments between Patrick Stewart and Jeri Ryan as the series examines the plight of the innocent victims (referred to as ‘Ex-B’s’) who had their individuality stripped away by the Borg.  The relationship between Picard and Elnor is quite sweet and the interplay between Stewart and Isa Briones is also memorable and especially well-portrayed as Picard helps Soji come to terms with, and embrace, her true nature.

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Picard seeks the help of some old friends (image credit: CBS Viacom).

As the season unfolds, there are various twist and turns – often genuinely surprising and even shocking (none of which will be divulged here for the sake of those not yet caught up) and the story reaches a climax with a two-part finale (“Et in Arcadia Ego“) in which Picard and his cohorts find their journey reaches Coppelius, a planet Dr. Maddox withdrew to continue his work following the synth ban and now populated by androids.  Trying desperately to prevent the galactic cataclysm foretold by the Admonition and from Soji playing a role in the event, Picard soon finds himself piloting the La Sirena and heading off a fleet of Romulan warships.  It’s a suitably epic confrontation and leads to an emotional and poignant denouement which establishes a new status quo for Picard, some satisfying closure for the TNG era and the promise of exciting new adventures to come.

Picard isn’t perfect, despite some of the talent behind the scenes the plotting can be a little haphazard and the writing is sometimes a bit clunky and contrived.  Some of the narrative elements – such as the afore-mentioned synthetic revolt and subsequent ban on artificial life – are not afforded enough focus, likewise there are character backstories left underdeveloped, such as Raffi’s strained relationship with her son.  It makes IDW’s Star Trek: Picard – Countdown comic book mini-series and Una McCormack’s novel Star Trek: Picard – The Last Best Hope recommended reading as they flesh out much of what is missing on screen in that regard.  It’s also worth mentioning that unlike The Next Generation, Picard – like a lot of modern genre TV productions – carries a mature viewer rating and fulfils it with instances of bloody violence and a jarring overuse of profanity.  Whilst Picard was never intended (nor should it be) as merely a reprisal of TNG, perhaps it’s a missed opportunity to not have the series be accessible to a broader age range given its heritage.

Grumbles and nit-picks aside, Picard remains entertaining and each episode is at the very least (ahem) engaging with plenty of drama, action and numerous Easter eggs for fans to feast on.  The series may have benefited from tighter and more consistent pacing, especially in the earlier instalments and maybe even an increased episode count to better cater for the various sub-plots and character developments, but there are often glimmers of greatness that assures potential for the already confirmed second season.  It’s hard to recommend Picard to the uninitiated as it is steeped deeply in the lore and history of what has gone before, requiring a certain amount of affection for the viewer to become properly committed.  In the end, Star Trek: Picard isn’t bound to please everyone – much like we’ve seen with Star Trek: Discovery – but on the whole it’s a well-produced and worthy new entry in the Star Trek canon with an intriguing story that’s elevated by the return, and resurgence, of Jean-Luc Picard and whets the appetite for the further voyages of a science fiction legend.

The bottom line:  A solid if sometimes flawed first season, Star Trek: Picard is non-the-less enjoyable and enhanced by the triumphant return of Patrick Stewart as Jean-Luc Picard.

All episodes of Star Trek: Picard season one are available to stream via CBS All Access in the U.S. or internationally on Amazon Prime.

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

TV Review: ‘Star Trek: Picard’ – Series Premiere

A science fiction legend returns in the newest ‘Star Trek’ spin-off…

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A 24th Century hero returns: Sir Patrick Stewart stars in ‘Star Trek: Picard’ (image credit: CBS).

Starring:  Patrick Stewart, Isa Briones, Alison Pill, Harry Tredaway, Brent Spiner

Series created by:  Kirsten Beyer, Michael Chabon, Akiva Goldsmen & Alex Kurtzman (Based upon Star Trek, created by Gene Roddenberry)

Episode directed by:  Hanelle M. Culpepper / written by:  Akiva Goldsmen & James Duff (story by Akiva Goldsmen, Michael Chabon, Kirsten Beyer, Alex Kurtzman & James Duff)

What’s it about?

“Remembrance” : as the end of the 24th Century approaches, on the anniversary of the devastating destruction of the planet Romulus, retired Starfleet Admiral Jean-Luc Picard is confronted by a mysterious young woman on the run, as a new adventure beckons…

In review

The much-awaited return of a Star Trek legend is finally here with the launch of the new CBS series Star Trek: Picard – from the makers of Star Trek: Discovery (joined by novelist Michael Chabon as showrunner) – with a promising and tantalising first episode.  As it very well should be, Picard is quite a different animal from Star Trek: The Next Generation – that show is and ever will be a classic, landmark piece of television, but times have changed and so has the nature of small screen entertainment and as with Discovery, the Star Trek franchise evolves.  As expected, it’s a lavish and sophisticated production with feature film quality visuals and some beautiful photography (presenting various locales) and the longform storytelling style we’re now accustomed to.

For Picard, Sir Patrick Stewart reprises his most iconic and forever beloved role as Jean-Luc Picard – former captain of the U.S.S. Enterprise (both ‘D’ and ‘E’) and retired Starfleet Admiral, following the catastrophic Romulan supernova (deftly tying into the events of J.J. Abrams’ Star Trek) which resulted in the destruction of the Romulan homeworld and the scattering of its people across space.  Embittered by the poor response to the crises by the Federation and Starfleet, organisations whose values he has fought to protect, Picard has withdrawn to a quiet and uneventful life at the family vineyard of Chateau Picard in France.  It’s been more than two decades since Picard’s last mission aboard the Enterprise and, now over 90 years old (accompanied by his dog – affectionately named Number One), he finds himself haunted by nightmares of his old friend, the late android Lieutenant Commander Data (Brent Spiner) and frustrated by the erosion of the ideals he cherished as a Starfleet captain.  However, the appearance of a young woman named Dahj (Isa Briones), on the run and desperate for help, thrusts the noble once Admiral Picard back into action.  Who is Dahj and why does she have hidden memories of Picard?  These questions and more are presented as a new adventure begins for Jean-Luc Picard in “Remembrance”.

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Picard (Patrick Stewart) is confronted by the mysterious Dahj (Isa Briones) in the premiere of ‘Star Trek: Picard’ (image credit: CBS).

At 79, Patrick Stewart has clearly aged – somewhat gracefully – and although he may at first appear a little shaky, it’s soon comforting to see Picard back onscreen.  Almost twenty years after he last played the role (on the big screen in 2002’s Star Trek: Nemesis), Stewart – mindful of his standout performance alongside Hugh Jackman in Logan – brings his talent effortlessly to the fore.  There’s an element of melancholy to his portrayal in Picard which befits the story and the mature character-focused approach the series seems to be aiming for, yet as the plot of “Remembrance” unfolds, those familiar traits of conviction and altruism start coming passionately to life once more.

Aside from the obvious joy of Patrick Stewart’s return to Star Trek, it’s also a delight to see the excellent Brent Spiner guest star and equally pleasing that his role, which could have easily been incorporated simply as fan service, has great importance to the story and lovingly celebrates the character of Data and his benevolent nature.  Isa Briones delivers a likeable and believable portrayal as the scared and desperate Dahj, with the writers serving the part with a good deal of mystery.  A visit to the Daystrom Institute in Okinawa introduces us to Alison Pill’s Dr. Jurati, a cybernetics expert left with little do after a ban on synthetic lifeforms following an apparent android revolt, creating some interesting and fun scenes with Picard.  Apart from the closing reveal of Harry Treadaway’s Narek that’s most of the recurring cast, with regulars Michelle Hurd, Evan Evagora and Santiago Cabrera to follow.  Also, whilst absent from this episode, there are still guest appearance from Patrick Stewart’s fellow TNG co-stars Jonathan Frakes and Marina Sirtis to look forward to in future instalments, as well as Jonathan Del Arco (the former Borg drone, Hugh) and Star Trek: Voyager’s Jeri Ryan.

Picard brings with it a whole sense of history and strokes of nostalgia, with plenty of Easter eggs for fans to enjoy.  It’s difficult to say at this point if casual viewers will be able to latch onto the series and become invested but there’s enough exposition in the premiere to help bring new fans into the fold.  It’s important to remember that this is merely the first chapter in a ten-episode saga and “Remembrance” serves as a reintroduction to the character of Picard, establishing the world and times in which he now lives and providing the initial set-up for the serialised season-long arc.  To this end, “Remembrance” does a good job of balancing the disparate elements and with a whole heap of intrigue and action, whets the appetite for more…make it so.

The bottom line:  Jean-Luc Picard is back and Sir Patrick Stewart is on top form as Star Trek: Picard gets off to a promising and enjoyable start.

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

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

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).

Flashback: ‘Star Trek’ (2009)

In 2009, the ‘Star Trek’ franchise made a bold return to the big screen…

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The cast of J.J. Abrams’ ‘Star Trek’ (c. Paramount Pictures).

Year:  2009

Starring:  Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Bruce Greenwood, Ben Cross, Leonard Nimoy, Eric Bana

Directed by:  J.J. Abrams / written by:  Roberto Orci & Alex Kurtzman

What’s it about?

A young James Kirk and Mr. Spock meet for the first time aboard the newly commissioned U.S.S. Enterprise where they soon find themselves tasked with saving the universe from a vengeful out-of-time Romulan…

Retrospective/review

With the underwhelming box office and tepid critical reception of Star Trek Nemesis in 2002 and the cancellation of television series Star Trek: Enterprise in 2005 due to declining ratings a creative refresh of the Star Trek franchise was needed in order to rekindle fan interest and bring in a whole new audience that would help carry Gene Roddenberry’s creation into the future.

Whilst Star Trek would remain dormant on the small screen until the arrival of Star Trek: Discovery in 2017, it’s theatrical voyages would recommence just four years after the conclusion of Enterprise.  Enlisting J.J. Abrams (together with his Bad Robot production company) to produce, direct and help craft the story – with screenwriters Roberto Orci and Alex Kurtzman (co-creator and executive producer of Discovery) – Paramount Pictures commissioned Star Trek for the big screen.

Released in May of 2009, received to favourable reviews and a healthy worldwide box office of around $385 million (a fairly respectable figure at a time when $1 billion grossers were few and far between and comparable to Marvel’s Iron Man), Star Trek would prove to be a rollicking action adventure that, although favouring popcorn spectacle and Star Wars-style visual grandeur over the deeper philosophical explorations of previous iterations, excels in its characters and engaging story.  In order to be free from the burden of decades of continuity whilst still tying into the established universe, Star Trek would employ the popular time travel trope by bringing Leonard Nimoy’s (gifting the project with true Trek royalty) Spock back in time in an event that would create an alternate reality – now referred to as the Kelvin timeline – allowing a new series of Star Trek films to forge their own creative path.

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Eric Bana as Nero (c. Paramount Pictures).

Star Trek opens with the arrival of the Romulan ship Narada, thrust back in time after the destruction of the Romulan homeworld in the wake of a catastrophic supernova, which Ambassador Spock and the Vulcan High Command pledged, and fail, to avert.  The Narada, under the command of the embittered Nero, is discovered by the U.S.S. Kelvin which is subsequently attacked and its captain killed – leaving Lt. George Kirk (a pre-Thor Chris Hemsworth) in command.  The Kelvin’s crew, including Kirk’s wife (played by Jennifer Morrison) – about to give birth to their son, are evacuated as Kirk sacrifices his life to save others.  Jumping forward several years we meet a young trouble-making James Kirk and an equally troubled Spock, struggling to reconcile his half-human/half-Vulcan heritage.  Little do both know that destiny awaits (which for Kirk includes the captain’s chair of a certain starship), events drawing them together as the fate of both their worlds hang in the balance.

Finding new actors to inhabit the roles of the beloved original series crew was undoubtedly a daunting task and fortunately, the casting of Star Trek is exceptional.  Chris Pine and Zachary Quinto are perfect choices for the roles of Kirk and Spock, respectively, both actors bringing respectful and recognisable performances to classic characters whilst making it their own and their chemistry helps drive the core narrative.  Likewise, Karl Urban is a revelation as the cantankerous but loyal Doctor Leonard “Bones” McCoy – the final component in the celebrated Kirk/Spock/McCoy troika that was such an important part of the original series.  There are equally strong turns from Zoe Saldana as Communications Officer Uhura, John Cho as Helmsman Sulu, the late Anton Yelchin as the incredibly eager Ensign Chekov and Simon Pegg as Engineer Montgomery “Scotty” Scott.  Bruce Greenwood’s portrayal of Captain Christopher Pike (played by Jeffrey Hunter in Star Trek’s original pilot episode, “The Cage” and by Anson Mount on Star Trek: Discovery) is also a highlight, particularly in his relationship with Pine’s Kirk as he inspires the bright but directionless young rebel by daring him to be better and enlist in Starfleet.  Playing the part of the villainous Nero is Eric Bana, who had previously starred in Ang Lee’s Hulk.  He’s not necessarily the most complex of antagonists but Bana gives it his all, delivering a decent measure of menace.

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A slick redesign for the U.S.S. Enterprise (c. Paramount Pictures).

The design of Star Trek is exemplary, from the Academy Award winning make-up, costumes and props (both nifty updates from the original series) to the lavish, brightly lit sets by Scott Chambliss and the sleek redesign of the Enterprise herself, providing viewers with a pleasing new look which respectfully adheres to the overall configuration conceived by Matt Jeffries.  Whilst there’s a comforting sense of the familiar, Star Trek also takes some creative risks – primarily the destruction of Vulcan by Nero and his cohorts in retribution for the failure to save Romulus from its own obliteration in the future.  It’s a shocking and dramatic sequence that establishes the highest of stakes to unite the Enterprise crew and allows for a more emotionally vulnerable depiction of Quinto’s Spock.

As director, J.J. Abrams (who made his feature film debut in 2006 with Mission: Impossible III) brings energy and enthusiasm to Star Trek, keeping the viewer invested whether it’s in his execution of action and visual splendour or the tight and attentive focus in the quieter, more intimate character moments.  A good film is always enhanced by a great musical score and composer Michael Giacchino’s soundtrack is a memorable one, exciting, emotional and wonderfully intertwining cues from Alexander Courage’s original Star Trek theme with fresh themes to take the new big screen franchise forward.

Star Trek may have been divisive so far as the fanbase is concerned but there are those that enjoyed it for what it was, a polished and highly entertaining rejuvenation of an ageing franchise that opened up the universe to a whole new audience which is something that shouldn’t be undervalued.

Geek fact!

The story of Star Trek was fleshed out via tie-in comic books from IDW Publishing (and overseen by co-screenwriter Roberto Orci) with prequel titles Star Trek: Countdown and Star Trek: Nero adding a lot of insightful detail and background to the narrative of the 2009 film.

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

Comics Review: ‘Star Trek: Discovery – Captain Saru’

IDW continues its expansion of ‘Star Trek: Discovery’ with their latest comic book tie-in… 

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Cover art for ‘Star Trek: Discovery – Captain Saru’ by Paul Shipper (c. IDW Publishing).

Written by:  Kirsten Beyer & Mike Johnson / art by:  Angel Hernandez / colours by:  J.L. Rio and Valentina Pinto

What’s it about?

After the nearly catastrophic events on the Klingon homeworld and the U.S.S. Discovery’s return to Earth, Starfleet orders the ship, under the temporary command of Commander Saru, to investigate the disappearance of a science vessel…

In review

IDW Publishing continues its winning streak of Star Trek comics with the one-shot 2019 annual Star Trek: Discovery – Captain Saru, based on the hit CBS All Access series.  Written by Discovery staff writer Kirsten Beyer together with veteran Trek comics writer Mike Johnson and with art by Angel Hernandez, Captain Saru is a superb tie-in to the latest Star Trek series and a great comic overall.

Slotting neatly into place at the end of Discovery’s inaugural season but prior to the closing scenes of the season one finale, Captain Saru further expands on the titular Kelpien’s leadership abilities as he continues his role as acting captain and the faith that Starfleet Command has in his skills when they despatch the skeleton-crewed, under-repair Discovery to investigate the whereabouts of the U.S.S. Dorothy Garrod, a science vessel aboard which Ensign Tilly is spending her leave – only to discover that it has fallen prey to Orion pirates that soon endanger Discovery and her crew.  Can Saru effectively marshal his experience and skills to overcome this latest challenge?

It goes without saying that Beyer and Johnson’s script is excellent given their history as Star Trek writers.  Beyer (appointed to oversee the licensed fictional expansion of the Discovery universe in books and comics) as novelist, co-writer, with Johnson, of previous IDW Discovery titles “The Light of Kahless” and “Succession” and scribe of the outstanding Saru-focused first season episode “Si Vis Pacem, Para Bellum”.  Johnson, comparatively, is now in his tenth year of writing Star Trek comics for IDW and has given fans numerous stand-out stories including the Star Trek (2009) prequels “Countdown” and “Nero”.  Both writers bring all of their talents, knowledge and love for Star Trek fully to Captain Saru where they perfectly capture the voices of the various Discovery characters (aided in no small part by the performances of Sonequa Martin-Green, Doug Jones, Mary Wiseman and Anthony Rapp et al providing strong points of reference), the feel of the show and the spirit of Gene Roddenberry’s vision which imbues it in its finest moments.  Saru’s tenure as temporary commander during the Mirror Universe crisis was a highlight of Discovery’s first season and that is strengthened here.  Whilst there is action and suspense in the story, Captain Saru excels in characterisation and emotional investment as Beyer and Johnson dive deep into not only Saru’s capabilities and resourcefulness but also his doubts and inability to view himself as his ship-mates do.  There’s also a great deal of focus on the familial relationship between Saru and Michael Burnham which has, after a fraught beginning, blossomed (but with that occasional hint of professional tension remaining) during the series.

Just as Beyer and Johnson faithfully adapt the narrative dialect and characters of Star Trek: Discovery, Angel Hernandez (who cut his Star Trek comics teeth on the Mike Johnson written Star Trek/Green Lantern crossovers) perfectly recreates the look of the series with meticulous detail and attention and evoking the cinematic scope and direction that the makers of Discovery bring to television screens each week.  Hernandez is also adept in making the reader ‘feel’ the characters with his intricate range of facial work and their placing within the panels.  Colouring by J.L. Rio and Valentina Pinto further embellishes the visuals with a slight painted, water-colour quality that’s a little reminiscent of J.K. Woodward’s work on titles such as Star Trek: The Next Generation/Doctor WhoAssimilation² and Star Trek: Harlan Ellison’s The City on the Edge of Forever.  It all amounts to a wonderful read and essential for fans of Star Trek: Discovery.

The bottom line:  a highly enjoyable tie-in to the CBS series, Star Trek: DiscoveryCaptain Saru is another unmissable Star Trek release from IDW Publishing brought to life by a superb creative team.

Star Trek: Discovery – Captain Saru is published by IDW and is available in print and digital formats now.

Incorporated image is used for illustrative purposes only and remains the property of the copyright holder(s).

Flashback: ‘Star Trek’ – “The Cage”

Where the voyages of ‘Star Trek’ truly began…

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Jeffrey Hunter leads the cast of “The Cage” as Captain Christopher Pike.

Year: 1964

Starring: Jeffrey Hunter, Leonard Nimoy, Majel Barrett, John Hoyt, Susan Oliver

Series created by: Gene Rodenberry

Written by: Gene Rodenberry / episode directed by: Robert Butler

What’s it about?

Searching for survivors of the S.S. Colombia on the unexplored planet Talos IV, the crew of the Earth space ship Enterprise are thrown into crisis when their captain, Christopher Pike, is captured and imprisoned by a race of powerful telepaths…

Retrospective/review

As any Star Trek fan more than likely knows, the voyages of the starship Enterprise didn’t actually begin with Captain Kirk. Whilst the series would launch with the airing of “The Man Trap” in September of 1966, viewers at the time were unaware that two years previously another version of Star Trek had been produced – and canned. Screened at conventions during the 1970s but unaired until the 1980s and now widely seen thanks to decades of home video releases (greatly enhanced by its beautiful 21st Century high definition remaster with new CGI effects), “The Cage” is a fascinating glimpse into the genesis of Star Trek.

Springing from his ‘Wagon Train to the stars’ concept, Star Trek married Gene Roddenberry’s love of science fiction and adventure with the frustrations of television censorship to create a vehicle for telling serious, adult (eschewing the campier comic book approach of Irwin Allen’s Lost in Space) stories about humanity, exploration, discovery and tackle social and political issues without the interference of network executives. Realising that science fiction fans would recognise the deeper themes offered by Star Trek and the television suits would in most instances not, it would be the perfect passion project for Roddenberry and a means to explore compelling and thought-provoking ideas.

In “The Cage” the U.S.S. Enterprise, under the command of Captain Christopher Pike, traces a distress signal to the unexplored Talos star system, a region where the S.S. Colombia reportedly disappeared eighteen years prior. Arriving at Talos IV, Pike and a landing party discover survivors of the Colombia expedition, including the beautiful Vina. Quickly learning that the survivor’s camp is a fake, it’s too late for the Enterprise party to prevent Pike’s capture by the Talosians. Forced underground when the surface was decimated by war and having developed powerful telepathic abilities in the succeeding centuries, the Talosians imprison Pike with Vina – the only true Colombia survivor – subjecting them to various illusionary scenarios, for their captors’ own satisfaction and in the hope that the pair will become close and produce offspring to add to the Talosian ‘zoo’.

A notable actor with roles in big screen features including the John Wayne-fronted Western The Searchers and as Jesus Christ in King of Kings, Jeffrey Hunter is an assuring lead and, as written by Roddenberry, brings a complex and layered performance to the role of Captain Pike – a resourceful and capable commander suffering a crisis of conscience and loss of direction and desire for responsibility following his most recent mission which saw members of his crew injured and even killed.

 

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The late, great Leonard Nimoy as a very different Mr. Spock.

 

Joining Hunter is Leonard Nimoy as a far more ebullient and emotive Mr. Spock, the only character who would make the transition to the series where the concept of the emotionally repressed and logic-driven Vulcan race would be defined, Majel Barrett as Pike’s unnamed first officer – referred to only as “Number One” (Barrett would later become Mrs. Roddenberry and join the Star Trek cast as Enterprise nurse, Christine Chapel), a skilled and intelligent women in a position of authority which was uncommon in television and film at the time, John Hoyt (previously seen in the George Pal science fiction cult classic When Worlds Collide) as Chief Medical Officer, Doctor Philip Boyce and Peter Duryea as ship’s helmsman Jose Tyler and Laurel Goodwin as Yeoman Colt – whose characters are both unnamed onscreen. Guest starring as Vina is the excellent Susan Oliver and Meg Wyllie as the Talosian ‘Keeper’ with dialogue redubbed by Malachi Thone, the vocal pitch adjusted to give the Talosian race a mysterious androgynous quality.

Gene Roddenberry’s narrative is exciting, dramatic and filled with intelligent SF ideas but it’s in character that he excels – he provides Pike with a richness of depth and humanity and his scenes with Oliver’s Vina provide pathos and emotional investment (and offering food for thought as the theme of slavery is examined), which complements the science fiction aspects of the story and the morality play elements. Roddenberry backs this up with some great dialogue that verges on the poetic, best exemplified by the ‘doctor, bartender’ exchange between Boyce and Pike (played superbly by Jeffrey Hunter and John Hoyt) in which the doctor shares a martini with his conflicted captain and reminds him that “a man either lives life as it happens to him, meets it head-on and licks it, or he turns his back on it and starts to wither away”.

The production values are impressive and hold up extremely well, whilst the Enterprise sets are drabber and more muted in terms of colour (likewise, the crew uniforms, which would be re-designed once the first season of Star Trek proceeded) they are largely the same, minus subtle changes, to how they would appear in the series. Props such as the communicator and laser pistol (the forbearer of the phaser) are highly detailed and believable, functional devices. The subterranean caverns of the Talosian community are sparse but effective, the make-up design of the Talosians themselves is exemplary, their large, bulbous craniums given life with throbbing veins indicating the use of their advanced mental abilities.

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One of CBS Digital’s new CGI effects sequences for the remastered edition of “The Cage”.

Although the Enterprise model effects work is somewhat primitive and experimental in comparison to the series proper, Matt Jeffries’ design remains iconic and the substituted CGI effects for the remastered edition of “The Cage” render this point moot and increase the enjoyment of the story greatly. Equally legendary is Alexander Courage’s theme music (so celebrated that Courage’s cues are incorporated into Jeff Russo’s theme for the latest Star Trek series, Discovery), identifiable to even those who may not be fans of Star Trek. Beyond the main theme, Courage’s score for “The Cage” is quite magnificent – conveying all the action, emotion and mystery of Gene Roddenberry’s script.

“The Cage” would run over schedule and over budget and ultimately be rejected by the NBC television network for being “too cerebral” but enough potential was seen in Gene Roddenberry’s creation to commission a second pilot leading to the more action-driven (but actually, still fairly intelligent) “Where No Man Has Gone Before” (read the retrospective here) with the incomparable William Shatner taking over the lead as Captain James T. Kirk. The rest is of course history but there should always be an appreciation for “The Cage” and its role in the birth of a cultural phenomenon.

Geek fact!

Footage from “The Cage” would later be incorporated into “The Menagerie”, the original Star Trek’s only two-part story which guest stars Malachi Throne as Commodore Mendez.

All images included herein remain the property of the respective copyright owners and are used for illustrative and commentative purposes only.

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.

Flashback: ‘Star Trek: Enterprise’ – “Broken Bow”

Sixteen years before ‘Discovery’, there was another ‘Star Trek’ prequel…

Ent Broken Bow Crew

The crew of first ‘Star Trek’ prequel ‘Enterprise’.

Starring:  Scott Bakula, Jolene Blalock, Connor Trinneer, Dominic Keating, John Billinglsey, Anthony Montgomery, Linda Park, John Fleck, Vaughn Armstrong, Gary Graham, Tommy Lister Jr

Series created by:  Rick Berman & Brannon Braga (based upon Star Trek, created by Gene Roddenberry)

Written by:  Rick Berman & Brannon Braga / Episode directed by:  James L. Conway / 2001

What’s the episode about?

On a mission to return an injured Klingon to his homeworld, the starship Enterprise and her crew are thrust into conflict with an alien race known as the Suliban…

Retrospective

Airing back in September 2001, “Broken Bow” is the feature-length premiere of the fifth live-action Star Trek television series, Enterprise (sans the ‘Star Trek’ prefix, which would be added from the show’s third season).  Created by Rick Berman, the franchise’s head producer (and its guardian following the death of Gene Roddenberry in 1991) together with Star Trek: The Next Generation and Star Trek: Voyager writer/producer Brannon Braga, Enterprise is a prequel to Star Trek: The Original Series set over a century prior to the voyages of Captain Kirk’s U.S.S. Enterprise and a decade before the formation of the galactic coalition known as the United Federation of Planets.

With “Broken Bow”, the story of Enterprise begins in 2151, almost a century after Earth’s first contact with the Vulcans (as seen in the 1996 feature film Star Trek: First Contact) at a time when the human race has recovered from the devastation of World War III and set their sights on the stars.  With the assistance and guidance of the Vulcan High Command, Earth has begun developing newer and faster starships, the latest of which is the Enterprise NX-01 – the first Starfleet vessel to incorporate the revolutionary Warp 5 engine that will allow humans to head out into deep space on a mission of peaceful exploration and contact with alien races.

“Broken Bow” opens with the crash landing of a Klingon on Earth, being pursued by mysterious alien soldiers from a race called the Suliban.  Wounded during the pursuit, despite the objections of the Vulcan High Command, Starfleet decides to launch Enterprise on a mission to Qo’nos, the Klingon homeworld, and return the injured Klingon – named Klaang (Tommy Lister Jr) – to his people.  It’s not exactly plain sailing however and when the Suliban capture Klaang mid-voyage, the crew of Enterprise are thrust into danger as they set out to locate and rescue the Klingon from his captors.

“Broken Bow” unfolds at a steady pace, its earlier sections taking time to introduce the main characters and the general setting of Enterprise, notching things up once the NX-01 embarks on her maiden voyage.  As the plot progresses we learn that the Suliban aggressors are a cabal of genetically enhanced soldiers, receiving orders from a mysterious benefactor (James Horan), communicating with them from the future and are fighting a ‘Temporal Cold War’ in which various competing factions are attempting to manipulate the timeline in their favour.  Here, the Suliban are planning to incite a Klingon civil war, evidence of which Klaang has obtained and which the Suliban are desperate to recover.

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The wonderfully designed Enterprise NX-01, ready to launch into deep space…

With a desire to return to more character-driven stories, Berman and Braga ensured that they populated Enterprise with engaging characters.  Always their first choice for the lead, Quantum Leap star Scott Bakula is Captain Jonathan Archer, whose father, Henry, designed the Warp 5 engine.  Bakula brings a grounded, believable quality to the role and the flashbacks to Archer’s childhood are a neat addition that bring dimension to the character as we see how his relationship with his father drives his determination as an explorer and pioneer.  The rest of the principal cast comprises Jolene Blalock as Sub-Commander T’Pol, a Vulcan Science Officer posted to Enterprise at the insistence of the High Command, Connor Trinneer as spirited Chief Engineer Charles ‘Trip’ Tucker III, Dominic Keating as Armoury Officer – and dutiful Englishman – Lieutenant Malcolm Reed, Anthony Montgomery as Helmsman Ensign Travis Mayweather, a ‘space boomer’ born and raised on an Earth cargo ship and Communications Officer and gifted linguist Ensign Hoshi Sato.  Completing the crew’s complement are Archer’s pet Beagle, Porthos and the ‘Denobulan’ Chief Medical Officer, Doctor Phlox played with a wonderfully quirky charm by John Billingsley.  The central threat of the Suliban is headed up by the nefarious Silik, played John Fleck (no stranger to Star Trek, having previously guest starred in episodes of The Next Generation, Deep Space Nine and Voyager).  Silik, the Suliban Cabal and the theme of the Temporal Cold War would be revisited throughout the four season run of Enterprise and would prove a compelling and intriguing storytelling component for the series.

Overall, the script for “Broken Bow” is decent, the direction (by experienced Trek director James L. Conway) solid and the cast and their respective characters are instantly likeable.  The Emmy Award winning visual effects are also excellent and hold up well today.  “Broken Bow” boasts numerous exciting action sequences, from the opening cornfield chase to the Suliban’s infiltration of Enterprise and the escape of Archer and his landing party from Rigel X through to the battle within the atmosphere of a gas giant and the climactic face-off between Archer and Silik onboard the Suliban’s ‘Helix’ base.

The show’s production design, by Herman Zimmerman (another Star Trek veteran, having worked on The Next Generation and Deep Space Nine as well as several of the feature films) is another strong component, the interior of the NX-class Enterprise given a cramped, submarine-esque layout with a nifty combination of LCD screen technology and physical, switch based control systems that gives the show a slightly retro-futuristic look that acknowledges the advancement of modern technology whilst retaining its place within the Star Trek timeline.  Along with the costume design (the flight-suit style crew uniforms a highlight), props and the ever impressive make-up by Michael Westmore and his team, Enterprise remains as visually appealing as it was over fifteen years ago.

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The Suliban: another example of make-up maestro Michael Westmore’s talents.

Having Enterprise take place before the original Star Trek allows the series to present some fresh takes on the familiar.  The Vulcans of the 22nd Century are not quite as noble as they are in the other Star Trek series and tend to have a condescending attitude towards humans (believing they are not yet ready to join the interstellar community), adding an element of conflict to the show.  Similarly, humans are more fallible making the characters more relatable whilst still injecting them with the drive to learn and improve in accordance with Gene Roddenberry’s positive vision for humankind’s future.  Another notable departure concerns the iconic Star Trek technologies, most of which here are in their infancy or don’t yet exist – the universal translator can be unreliable, there are no shields, phasers are called ‘phase pistols’ and the transporter has only just been approved for bio-transport and reluctantly used by the crew as a last resort.

It’s known that Paramount were nervous about producing a Star Trek prequel series, perhaps fearing that audiences had become accustomed to and seemingly favoured the 24th Century setting of previous spin-offs The Next Generation, Deep Space Nine and Voyager.  In fact, the studio were even more hesitant about Berman and Braga’s initial concept for Enterprise, where they envisioned a predominantly Earth-based first season examining political and social concerns surrounding the construction and eventual launch of Enterprise and humanity’s first voyage into deep space.

“Broken Bow” is comfortably the strongest premiere of the Berman-era Star Trek series and although Enterprise would struggle with dwindling viewership and gradual loss of interest in the franchise at that point (which sparked the show’s edgier direction in season 3) it’s still an enjoyable, underappreciated chapter in the Star Trek story.

Geek fact!  “Broken Bow” features a cameo from James Cromwell as Warp Drive inventor Zefram Cochrane, reprising his role from Star Trek: First Contact.

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.

ST Disc 02 - Crew

‘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.

ST Disc 04 - Saru

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.