“Now, you are my children.” — Star Trek Discovery review, “Point of Light”, s2e3


Star Trek: Discovery, season 2, episode 3
“Point of Light”
Review by Clinton

“No language can express the power and beauty and heroism of a mother’s love.”
-Edwin H. Chapin

It is not unusual for “Star Trek” to put an emphasis on family. Most often, it is not about blood relations, but the emotional connections that bind a group together. In this episode, written by Andrew Colville and directed by Olatunde Osunsanmi, the more intimate connection between mother and child is front and center.

While still in pursuit of the red signals, USS Discovery receives an unexpected visitor — Amanda Grayson (Mia Kirshner), adoptive mother to Lt. Michael Burnham (Sonequa Martin-Green). We learn that Grayson failed in an attempt to see her son, Spock. The half-Vulcan had committed himself to a psychiatric unit on Starbase 5 for reasons unknown. Denied access to her son or his condition, Grayson unashamedly steals his encrypted medical file and needs Burnham to unlock it. The lieutenant’s reaction to this act of thievery reads like a child embarrassed by the behavior of a parent.

Burnham is reluctant to violate orders. But Grayson presses forward. With the lieutenant by her side, Grayson meets with Captain Pike (Anson Mount):

Pike:
I can’t open this file. If I did, I’d be in violation of the rules and my mother wouldn’t like that.

Burnham:
There is precedent; in Starfleet case law, for a captain to invoke —

Pike:
Was she this bossy as a kid?

Grayson:
On Vulcan we call it “persistent,” and yes, she was. She learned that from me.

Contacting Starbase 5, Pike is told that Spock fled the facility after killing three of his doctors.

Her son is in trouble. Grayson presses forward.

Sitting with her adoptive mother, Burnham decrypts the files. The records state that Spock has exhibited signs of “extreme empathy deficit.” It is in this moment that we learn of Grayson’s regrets over the upbringing of her half-human son.

Grayson:
I can’t deny that possibility. He didn’t have a normal childhood. Sarek wanted Spock raised in the Vulcan manner, and any display of emotion was strongly discouraged. And in order to not confuse my son, I began to hide my own. I was not a real mother. I wasn’t what he needed.

Burnham:
You gave us love — every second.

Grayson:
It was different with you, Michael. I gave you all my joy and my affection that I was not permitted to give to him. But Spock is half human. If he’d have been permitted to embrace the human feelings that I know he has inside of him, it would have saved him from all the trouble that he’s in now.

Of course, family dynamics are hard. In the files, the two women come across Spock’s drawings of the so-called “Red Angel”. Grayson reveals that when Burnham ran away from home, young Spock claimed the angel came to him and told him where Burnham was. Grayson says that Spock changed after that day. He withdrew into himself. This revelation hits Burnham hard.

Burnham:
It wasn’t because of a vision. It was because of me. My presence was a danger to the family. If the logic extremists couldn’t get to me, they would try to get to him. And he was my little shadow. So I had to wound him deep enough to keep him away from me.

Burnham tries to tell Grayson what she did, but she cannot bring herself to say the words. Amanda now realizes that her family is broken and it is up to her to pick up the pieces. Taking the data disk, she leaves to find her son.

Grayson pressing on.

This, of course, will not be the only time Grayson has to confront Spock’s upbringing. In the classic “Star Trek” episode “Journey to Babel,” a transfusion from Spock can save Sarek’s life. But Spock is in temporary command of Enterprise and refuses to relinquish his post to assist.

Grayson:
Nothing is as important as your father’s life.

Spock:
Can you imagine what my father would say if I were to agree? If I were to give up command of this vessel — jeopardize hundreds of lives, risk interplanetary war, all for the life of one person.

Grayson:
When you were five years old, and came home stiff-lipped, anguished, because the other boys tormented you, saying that you weren’t “really Vulcan,” I watched you, knowing that inside, the…the human part of you was crying. And I cried, too. There must be some part of me in you. Some part that I still can reach. If being Vulcan is more important to you, then you’ll stand there, speaking rules and regulations from the Starfleet and Vulcan philosophy and — and let your father die, and — and  I’ll hate you for the rest of my life.

Years later, it appeared the House of Sarek was still in need of some repair.

Meanwhile, on Qu’noS, things are not going well for newly-appointed Chancellor L’Rell (Mary Chieffo). She is struggling to unite the 24 Klingon houses as one family, as T’Kuvma envisioned. However, the patriarchy is resistant to her radical ideas. They are also openly hostile towards the Torchbearer, Ash Tyler (Shazad Latif). The warriors do not see the Klingon, Voq, buried beneath Tyler’s human appearance. And none is more combative than Kol-Sha (Kenneth Mitchell), whose son, Kol, died at the hands of the Federation during the war. He sees the red signals as a sign that L’Rell’s changes will bring the empire to doom. But L’Rell presses on.

The chancellor defends Tyler against all that oppose him. Voq, in Klingon form, was her lover. But now, she senses that Tyler is conflicted; that his feelings for Michael Burham are stronger. This is born out in a subspace communication Tyler has with the lieutenant. Then Tyler reveals that he associates L’Rell with his gruesome transformation, making her every touch feel like a violation.

To make matters worse, we learn that while Voq was undergoing his surgery, L’Rell gave birth to a son. It is a son she has never seen and also kept secret from Tyler. To her own sorrow, she wished to give Tyler the freedom to return to the human world without him feeling racked with guilt.

But all these sacrifices amount to nothing. Eventually, to save them, L’Rell must let Tyler and their son flee Qu’noS. She is left with no lover, no child. But the Klingon presses on, and vows to serve as mother to the entire Klingon race.

Next episode: An Obol For Charon

Random Thoughts and Observations:

This episode also gave us partial resolution on the mysterious crewmember, May Ahern, that only Tilly has been able to see. Tilly is put through the emotional ringer, to the point of jeopardizing her path towards command, before she seeks help from Burnham. We still do not know why the inter-dimensional fungus wanted to speak with Stamets. Tilly also mentions that it was grooming her for something. There is more to this organism than meets the eye.

It might just be me, but I swear I keep hearing a tribble in the background of various Discovery scenes. Is that Lorca’s tribble? Is it multiplying?

We get at least two acknowledgements of the discrepancies between “Discovery” and classic “Star Trek.” First, the Klingons now sport hair, apparently because they shave their heads in times of war (I guess that custom faded long before the Dominion War). And two, Pike prefers flat screens to holographic images.

I am sure that many will appreciate the Klingons expanded use of English, rather than Klingon with subtitles.

Playing his Klingon father, Kenneth Mitchell has now died twice on “Star Trek: Discovery.” Apparently you are required to die twice to remain dead on this show. Also, having one actor play two characters in a Klingon bloodline is not unheard of. In “Star Trek VI: The Undiscovered Country,” Michael Dorn played the role of defense attorney Colonel Worf, grandfather of his TNG/DS9’s character.

That Klingon baby model really did not hold up well in close ups.

Is this the last we will hear of the child of Voq and L’Rell? I doubt it.

It looks like Tyler has found a home in Section 31. However, the scenes with Georgiou now feel like a backdoor pilot for her spinoff series.

“This regret you have for what you did, it weakens you.” — Star Trek: Discovery Review — The War Without, The War Within

Star Trek: Discovery, Season 1, Episode 14
The War Without, The War Within
Posted by Clinton

Emperor Georgiou as Captain.
source: spockvarietyhour.tumblr.com

In the “Star Trek” universe, the galaxy is teeming with life. In fact, on one planet, Gideon, overcrowding is such a problem, the inhabitants attempt to become deathly ill to reduce their own numbers. Despite this, in “The War Within, The War Without,” we find a universe filled with little more than isolation and loneliness.

The war has not gone well for our side during Discovery’s nine month absence. Without the information that would have rendered the Klingon cloaking device useless, the Federation finds itself in retreat and on the verge of collapse. Vice Admiral Cornwell (Jayne Brook) orders the Discovery to Starbase One, calling that outpost Starfleet’s last remaining sanctuary. Unfortunately, upon arrival, we learn that the station has fallen to the Klingons. The Discovery must flee, isolated in its own universe.

In a  way, the same can be said for the Klingons. The 24 houses that T’Kuvma hoped to unite have once again fractured. Each house is now acting in its own best interests, not for the benefit of the Klingon empire. In this context, the Federation has become little more than collateral damage in the fight for faction dominance. T’Kuvma’s dream of unification, a vision shared by Voq and L’Rell, is now a distant memory.

Of course Voq the Torchbearer is also now little more than a shadow. The Klingon’s essence has been disconnected from the body that also houses the personality known as Ash Tyler (Shazad Latif). Stripped of this dual identity, Tyler finds himself a stranger in his own body. He is left to wonder who he is and how he can move forward, knowing the horrific things he has done. He tries to apologize to Lt. Paul Stamets (Anthony Rapp) for the death of Dr. Hugh Culber, but Stamets offers no hint of absolution. Worse still, Michael Burnham (Sonequa Martin-Green), who had become his tether to humanity, no longer feels comfortable in Tyler’s presence. “I know in my head that you couldn’t be responsible for Voq’s actions,” Burnham explains, “but I felt your hands around my neck, and I looked into your eyes, and I saw how much you wanted to kill me.” She tells Tyler that he must work his way through his pain on his own, facing the demons of his actions as she once did.

Tyler speaks to Burnham
source: talk-nerdy-to-me-thyla.tumblr.com

The one person who feels compelled to connect with Tyler without judgement is Cadet Sylvia Tilly (Mary Wiseman). She sees that Tyler is being shunned by the crew the same way Michael Burnham was shunned when she first came aboard Discovery. Tilly, however, has grown in the months since Burnham arrived. While the Cadet first tried to distance herself from Burnham, she now makes the effort to sit with Tyler. This act draws out the compassion in others, who come to sit with Tyler.

Meanwhile, alone in her cell, L’Rell (Mary Chieffo) must reflect on the fact that she has lost Voq, her lover and inspiration, and that her dream of a unified Klingon empire appears to be crumbling around her.

The only visitor L’Rell receives is Vice Admiral Cornwell, a commander who has also lost practically everything. On a personal level, Cornwell is trying to come to terms with the loss of Gabriel Lorca. As a commander, she is facing the collapse of Starfleet and the Federation. Her inability to respond when she sees Starbase One laid waste signals how alone and desperate she feels.

Fortune Cookies
source: pixiedane.tumblr.com

In the end, only one individual seems to be functioning normally: Emperor Georgiou Augustus Iaponius Centarius (Michelle Yeoh). Plucked unceremoniously from her own reality, the Emperor is well aware of her isolation in this universe, but she never resigns herself to her fate. She acknowledges that she is now on her own, then begins looking for a way out of her situation. Georgiou pokes, looking for weaknesses in those around her. She maneuvers like a figure totally accustomed to the idea of operating solo. It is how one survives in the Terran Empire. By the end of the episode, she has managed to manipulate those around her into giving her what she needs to feel whole again: Power. She is still alone, but she doesn’t care.

It would seem that Discovery may have escaped the unbearable isolation of the mirror universe, only to bring it with them.

Next episode: Will You Take My Hand?

 

Random Notes and Observations:

  • Dr.Pollard! At last, another doctor on the Discovery. All it took was the death of Culber. Oh, and is Pollard the CMO?
  • Once again we have a ship approach the Discovery (the one carrying Cornwell and Sarek) and we never get a glimpse of it.
  • Starbase One is said to be 100 AUs from Earth. That places it outside our solar system, but not by much. It would take the Klingon fleet almost no time at all to arrive at Earth from that location, yet our home world has apparently not yet been approached.
  • Also, why were fighter ships not immediately deployed to intercept Discovery when it appeared at Starbase One?
  • Nice touch to have Cornwell vaporize the bowl of Lorca’s fortune cookies.
  • How does the rest of the crew feel about the appearance of “Captain Georgiou”? They have all just returned from the mirror universe, so you would imagine their first thought is, “That’s Emperor Georgiou!”
  • While it was subtle, we did see the “I” on “I.S.S. Discovery” being restored to a “U.”
  • Was there any practical reason story-wise for the Discovery to be in such a poor state of repair when it arrived back in the prime universe? That did not seem to play out as a plot point.

“You don’t know me.” — Star Trek: Discovery Review — Vaulting Ambition

Star Trek: Discovery, Season 1, Episode 12
Vaulting Ambition
Posted by Clinton

Mirror Georgiou with sword.
source: greenjimkirk.tumblr.com/

“Vaulting Ambition” exemplifies the duality of this first season of “Star Trek: Discovery.” Not just in terms of its characters who continue to shed their hidden identities, but also the way in which it handles story elements. When things are handled with care, the show is magic. When pieces are slapped together, the end product suffers.

Let’s start with what is good.

The acting is this episode is excellent. It is clear that the cast is now very comfortable with their characters. Over these many episodes the idiosyncrasies of each role have been refined. Cadet Tilly (Mary Wiseman) has become a just a wee bit less chatty. Commander Saru (Doug Jones) is a bit more in control. And Captain Lorca (Jason Isaacs) is…well, Lorca has pretty much always been on point. More on that in a second. The supporting players in “Vaulting Ambition” were also tone-perfect. Dwain Murphy’s turn as the torturous Captain Maddox left us with mixed emotions when he was ultimately slain by Lorca.

A long-game character plot line also came together beautifully this week. Last week, we dealt with the revelation that Tyler and Voq (Shazad Latif) are two personalities that share the same modified body. This week, we learn that Captain Lorca is, as some fans suspected, actually from the mirror universe. This is the type of twist that sends you reeling. Part of what made the reveal so satisfying is that Jason Isaacs knew where this character was headed from the very beginning. His discussions with the producers meant he knew things about Lorca that perhaps even individual episode directors did not know. This allowed the acting to reinforce the character’s backstory. Isaacs’ performance differs from Shazad Latif’s portrayal of Tyler/Voq because Lorca was always well aware of who he was and what he wanted. It is the kind of twist that makes you want to go back to the beginning of the season and closely watch the character in every scene.

We are treated to a lovely moment where Paul Stamets (Anthony Rapp) gets to say goodbye to Hugh Culber (Wilson Cruz). It helps soften the blow of the doctor’s untimely death and leaves us wondering if this truly is the end. It brings to mind Spock’s words, “There are always possibilities.”

Stamets and Culber
source: twyllodrus.tumblr.com/

“Discovery” also continues to shock and surprise in other ways. We recoiled when we learn that the Kelpien that Michael Burnham (Sonequa Martin-Green) had selected in the Emperor’s throne room was the main course at her dinner with Georgiou (Michelle Yeoh). Bonus points to Martin-Green for her reaction to being offered the Kelpien’s ganglia. In addition, Georgiou’s use of a flying disc as a killing weapon was inspired.

Then there are the elements that seem to fall off the rails.

Shall we begin with the I.S.S. Charon? The Emperor’s palace is a ship ridiculous in both size and design. It dwarfs virtually everything we have previously seen in “Star Trek,” save the occasional starbase. Its dimensions only serve to reinforce the belief that the people in charge of “Star Trek: Discovery” think that bigger equals better, and that insanely bigger is best.

I.S.S.Charon
source: twyllodrus.tumblr.com/

Meanwhile, after last week’s brilliant revelation about Tyler’s true identity, L’Rell’s (Mary Chieffo) reaction to Tyler/Voq’s torment feels unnecessarily rushed. It plays out like something we simply need to get through in order to hit the next plot point. All the elements are there — love, regret, sorrow — but we ultimately get too little of any of them to justify her actions. Likewise the medical procedure that L’Rell uses to supposedly “kill” Voq is another low point. It feels too simple. The process to merge Tyler and Voq was long and painful. This operation took mere seconds.

Then there is the laziest piece of writing in the episode: the reveal that mirror universe humans have eyes that are sensitive to light. This characteristic immediately informs Burnham that Lorca is not who he claims to be. The only problem is, we have been in this mirror universe several times and light sensitivity has never before been an issue. It is simply not true. There were other ways in which the same failing of Lorca’s eyes could have been used to reveal the Captain’s deception, but writer Jordon Nardino chose the easy way out. Nardino simply made something up, even if it contradicted what we already know to be true.

The duality of “Star Trek: Discovery” is diminishing over time, as both the characters and production crew find their way to their true selves. But episodes like this demonstate that there is still some room to improve.

Next episode: What’s Past is Prologue

“Can you continue to pretend to be one of them?” — Star Trek Discovery Review — The Wolf Inside

Star Trek: Discovery, Season 1, Episode 10
The Wolf Inside
Posted by Clinton

Burnham speaks to Tyler
source: startrekdiscoverysource.tumblr.com

Given sufficient time and clues, the hive mind of the internet will solve virtually any mystery. In this case, it involved two “Star Trek: Discovery” characters.

The idea that Lt. Ash Taylor (Shazad Latif) and Klingon Torchbearer Voq were one and the same entity became a widely held theory on the Web long before the episodes “Despite Yourself” or “The Wolf Inside” premiered. Some argued that Voq had been modified to look like a human. Others asserted that Tyler had been brainwashed. In either case, the online world knew something was up. They felt they had outsmarted the people behind “Star Trek: Discovery.”

But did the production team actually want to keep this plot line a secret? Or did they surreptitiously encourage us to figure it out ahead of time? After all, one of the first clues to this mystery was not even contained in an episode of “Discovery.” It was found just sitting there on imdb.com. The actor credited with playing the role of Voq was one Javid Iqbal. Except it appeared that Javid Iqbal’s only acting credit was playing Voq. Was he new to the profession? It was hard to tell, since Iqbal was conspicuously absent from the “Star Trek: Discovery” press junkets.

The internet was suspicious.

In episode four (“The Butcher Cares Not For The Lamb’s Cry”), L’Rell (Mary Chieffo) tells Voq that in order to win the war he must sacrifice “everything.” At which point, the Torchbearer is spirited away to house Mo’kai, a Klingon house composed of watchers, deceivers and weavers of lies. Then, in episode five (“Choose Your Pain”), Lt. Tyler appears on board a Klingon prison ship. Tyler tells Captain Lorca (Jason Isaacs) that he has survived seven months of captivity by allowing himself to be the subject of L’Rell’s torture and desires. Through it all, he remained strong and never gave up hope of rescue. He even helps Lorca escape the prison ship. He is Starfleet, through and through. Just what you would expect if the spy theory was to be believed.

Lorca speaks with Burnham.
source: v-e-l-v-e-t-g-o-l-d-m-i-n-e.tumblr.com

The internet was obsessed.

It was hard to deny the evidence. How had Tyler survived so long on the Klingon ship? After all, we know that L’Rell had not been on board the vessel during his entire captivity, so that alone could not account for the lieutenant’s ability to escape death. What was the full story behind Tyler’s hazy, violent flashbacks? Had the medical staff on board Discovery run any scans on the Lieutenant? Why was Lorca cutting Tyler so much slack? Was the Captain so enamored with Tyler that he had developed a blind spot to possible sabotage? And the Tribble on the desk in Lorca’s ready room. Surely that would play a part in unmasking the Klingon spy.

Eventually, as the Tyler/Voq theory began to take hold, Javid Iqbal appeared to open his own Twitter account, filled with pictures doctored to place Voq’s head on other actors bodies. Someone was having fun with all this. Maybe we were being played. Perhaps it was all some guerrilla marketing scheme.

But, as this game of cat-and-mouse played out, there was a danger. You see, not only was Lt. Ash Tyler proving to be a lifeline for Michael Burnham (Sonequa Martin Green), tying her to his humanity, he was also being portrayed as a survivor of torture and sexual assault. He was suffering from Post-Traumatic Stress Disorder (PTSD), trying to fight his way back from darkness. If the lieutenant was actually only experiencing the effects of some type of Klingon brainwashing, as the theory suggested, that could marginalize his medical condition. Those in the audience suffering from the horrors of PTSD would feel betrayed.

The Internet was watching.

When all the pieces finally came togethe, both last week and this week, we were lucky enough to have four scenes which slowly unraveled Voq from Tyler. In the first, L’Rell attempts to awaken Voq using trigger phrases. But all does not go according to plan, and Tyler exits the brig, confused and concerned. In the next incident, Dr. Culber (Wilson Cruz) hypothesized that Tyler’s personality was an overlay on some other consciousness. That could mean that all of Tyler’s memories of abuse were real. They simply had not all happened to this particular body. Without warning, as we were beginning  to process that information, Tyler breaks Culber’s neck. The breakdown of the wall within Tyler had begun. Next, Tyler had an episode of cognitive dissonance while hearing “Mirror Voq” explain how Klingons, Vulcans, Andorians and Tellarites were all working as one unit. This concept was so diametrically opposed to the belief system preached by T’Kuvma, Tyler snaps again and attacks the parallel universe Voq. The character is literally at war with himself. Later, as Tyler tries to explain his actions to Michael Burnham, the Klingon Torchbearer claws his way up from the depths of his slumber, fully reasserts himself and tries to kill Burnham.

Tyler in the transporter room
source: burnhamandtilly.tumblr.com

The four scenes helped the anticipated reveal not feel like we were watching Scooby Doo and the gang simply rip the mask off the villain of the week. We saw the duality of this situation. It was some sort of complicated ecosystem contained in one body. It left us wondering who this hybrid creature really is. Do we consider it half human, half Klingon? Is Lt. Ash Tyler still alive within that body? Is the “real” Tyler alive somewhere in the prime universe? Is this body and mind loyal to L’Rell or Burnham? Or both. And which memories are real, and to which personality do they belong?

The internet is waiting to learn more.

Next week: Vaulting Ambition

 

Random Thoughts and Observations:

  • That look on Lorca’s face as Burnham bows. It clearly means something. Is the internet right again about the Captain?
  • The good guys always seem able to locate a secure channel, no matter how well monitored the environment might be.
  • The doors on the I.S.S. Shenzou sound like they are opening and closing a bit more violently than ships in the prime universe.
  • Tyler survived for a few seconds in the vacuum of space, but the crew members beamed out earlier in the episode appeared to die instantly.
  • Cadet Tilly continues to impress. Will Saru actually give her a recommendation?
  • The new take on Tellarites shown in this episode is a bit jarring. The aliens now have tusks. Given the tradition of portraying the species as having pig-like features, this is an understandable addition, but it is still a bit radical.
  • It was nice to see Detmer get something to do other than simply sit at a station on the bridge. Let’s hope prime universe Detmer also gets more to do.
  • Javid Iqbal’s separate imdb.com credit no longer exists on the Star Trek: Discovery page. Independent credits for other industry professionals with the name Javid Iqbal do still exist on imdb.

“One last jump then.” — Star Trek Discovery Review — Into The Forest I Go

Star Trek: Discovery, Episode 9
Into The Forest I Go
Posted by Clinton

The Discovery spore drive in action.

I loved where this show arrived by the end of “Into The Forest I Go.” Yet, I hated some of how we got there.

First, the love.

This episode, which concluded what the producers are calling “Chapter One,” was paced to a T. During the critical 133 jumps, editing perfectly drew out Stamets’ (Anthony Rapp) ordeal. A sequence that involves this many repetitive steps would typically move from jump one to somewhere around 60, then to jump 131. Not in this case. We cut from from exterior views of the spore drive in action to closeups of a disoriented Stamets, to a readout of the jump numbers, then the loading of more spore canisters. The action is chaos in motion. Dr. Culber (Wilson Cruz), monitoring Stamets’ deteriorating condition, asks, “Tilly, how many jumps do we have left?” Cadet Tilly (Mary Wiseman) replies, “96 more.” We are heartbroken. Tyler’s (Shazad Latif) PTSD flashbacks are also expertly done. They seem to reveal everything, but don’t necessarily tell us all we need to know. The entire episode slipped seamlessly between frenetic action and slow, quiet character moments. Special shoutouts to episode writers Bo Yeon Kim and Erika Lippoldt, as well as episode director Chris Byrne and editor Jon Dudkowski.

Coupled with last week’s “Si Vis Pacem, Para Bellum,” this part of the story was sweeping in its scope. We joined a planet-side exploration, made first contact, battled the Klingons, uncovered revelations about major characters and ended up someplace completely unexpected.

We are left to wonder if Discovery had a chance to transmit the cloak-defeating data before her fateful jump. Captain Lorca (Jason Isaac) makes a point of telling Admiral Terral (Conrad Coates) that it will take eleven hours to refine the equations for fleet-wide use. It is unclear how long after that the ship disappears. Has Starfleet’s secret weapon vanished with the one piece of information that would turn the tide of the war? That would be rather devastating, wouldn’t you say?

The main characters on “Star Trek: Discovery” are slowly reaching that point where we think we know what makes them tick. We feel accustomed to the way Gabriel Lorca, Saru (Doug Jones), Sylvia Tilly, Michael Burnham (Sonequa Martin-Green) and Ash Tyler behave. Dr. Hugh Culber hasn’t had enough screen time to foster this sense of familiarity, but one gets the feeling that will change sooner rather than later. Imagine if we had had a chance to spend this much time with Captain Georgiou or T’Kuvma. How much more of an impact would their deaths have had on us?

Stamets in chamber saying "I love you."
source: lesbianphilippa.tumblr.com

“Discovery” has clearly started to hit its stride. That’s a good sign. Chapter Two now has the task of raising the bar even higher.

Now, about that hate I mentioned…

While the main characters have been fleshed out over the course of these first nine episodes, we know virtually nothing about most of the bridge crew. Yes, it’s true that we didn’t get to know every crew member who took a station on the bridge in classic Trek or “The Next Generation,” but those were mostly interchangeable extras. The bridge crew on board Discovery has been a constant. We also know nothing about the Discovery’s Chief Medical Officer. Remember, Dr. Culber is not the CMO.

We also did not get a chance to really know the Klingons to any great extent. Much like his makeup, Kol (Kenneth Mitchell) was painted with a pretty broad brush. In the end, he came across as simply a villain interested in power. He was not even the Klingon who killed Captain Georgiou. In fact, Kol points out that he never met the Captain. This made his defeat less satisfying than it could be.

There were also plot points in Chapter One that seemed to go nowhere. What happened to those mysterious security personnel who wore black delta shield insignias. We saw them momentarily in episode three, but never again. What happened to Harry Mudd when he left Discovery with knowledge of how the ship works? Is he going to try to sell that information? Every moment of screen time should mean something. If it is not paid off, we feel cheated.

L’Rell’s (Mary Chieffo) long game is another sticking point with me. At the mid-season break, we still are very much in the dark as to what she is planning. While it is fine to have some mystery left, her motives are so vague, it is hard to either love or hate her. Or love to hate her. She simply exists.

L'Rell in brig saying "Soon."
source:: klchaps.tumblr.com

The producers have promised that as we get closer to Kirk’s five year mission, there will be a bit more dovetailing with the aesthetics of classic Trek. It is unclear where we are in that timeline. If the battle of the binary stars took place ten years before “The Original Series,” and Burnham arrived on Discovery six months later, once you add in the amount of time it took to get to the incidents at the battle at Pahvo, we are roughly 9 years out from TOS now.

Overall, I think the pluses far outweigh the minuses with regards to Chapter One. We know that virtually every Trek series has had an awkward start; each struggling to find its unique voice. “Discovery” is no different. The characters are evolving as the writers and actors get more familiar with how this particular part of the Trek universe works. I think the rushed nature of Chapter One is something that will smooth out in future episodes. Of course, that vision may not be fully realized until season two, but that only give us one more thing to look forward to 2019.

Next episode: Despite Yourself

 

Random Thoughts and Observations:

  • I loved the huge sensor devices Tyler and Burnham had to place on board the Ship of the Dead. The fact that they lit up and talked felt so classic Trek.
  • Very happy that Admiral Cornwell survived. In a previous article, I wrote about women of power on “Discovery”. Nice to see this one could possibly return.
  • Why is it always so easy to sneak around on Klingon ships? Why are there so many corridors and rooms for so few crew members?
  • Speaking of Klingon ships, why do their commanders always just watch, dumbfounded, while torpedoes hit their vessels at the end of a battle?
  • Lorca clearly has no desire to return to Starbase 46. Did his desire to avoid that option cause him to feed new coordinates into the spore drive controls?

“You had no such outrage when we ate its Captain.” – Star Trek Discovery Review – The Butcher’s Knife Cares Not For The Lamb’s Cry

Star Trek: Discovery, Episode 4
The Butcher’s Knife Cares Not for the Lamb’s Cry
Posted by Clinton

Star Trek Discovery Klingons

In a show that is clearly taking risks, how “Star Trek: Discovery” is dealing with women and Klingons may be the most disquieting.

The concept of Klingons being a warrior race with a deep sense of honor runs strong through through the veins of the “Star Trek” franchise. When you have Klingon-centric episodes with titles such as “A Matter of Honor” and “Heart of Glory,” that becomes obvious. On “Discovery,” that Arthurian level of nobility is as thick as Klingon grapok sauce. The holy quest of now slain T’Kuvma (Chris Obi), and his designated successor, Voq (Javid Iqbal), is set against a backdrop of war and endless infighting amongst the 24 Klingon houses.

Even so, this can all feel familiar. Let’s face it — however epic the quest, it can be easy to forget that the Klingons, portrayed by humans, are not human. How do you resolve this dilemma? “Star Trek: The Motion Picture” was first to solve the problem. When the movie premiered, suddenly Klingons had pronounced ridges on their foreheads, their teeth look carnivorous, they dressed in military garb and they spoke an alien language with subtitles. For the first time,  the sons and daughters of Qo’noS truly felt alien.

Klingons from "Star Trek: The Motion Picture"

But, over the decades that followed, the Klingons were slowly softened. They were integrated into Starfleet, they quoted Shakespeare, we saw hybrid species appear, such as B’lanna Torres (Klingon/Human) and Ba’el (Klingon/Romulan), and they often defaulted to speaking English, save the occasional phrase, such as “Qapla.”

A new coat of paint was needed to cast the Klingons as aliens once more. If the production was going to delve into Klingon culture, there needed to be a way to telegraph to the viewer that they needed to pay close attention; that everything they knew about Klingons was of no use here. And what better way to do that than to follow the template of that first shocking retooling of the species in “The Motion Picture”?

There are many who feel that the pacing of the Klingon scenes in “Discovery” is slow. Yes. It should be. Klingons are not human. People complain that they have to read on-screen translations.Yes. They do. Klingons are not human.

Treated almost in passing, this episode contained probably the most alien statement of them all. L’Rell (Mary Chieffo) was speaking to Voq and mentioned the fate of Shenzhou’s Captain Georgiou (Michelle Yeoh), who had been killed aboard T’Kuvma’s ship:

“You had no such outrage when we ate its Captain. I saw you smile when you picked the meat from her smooth skull.”

This was not cannibalism. Klingons are not human.

But Georgiou’s fate also brings me to my other point. “Star Trek: Discovery” publicity played up the fact that women of power were going to play a significant role in this new series. But how has that worked out so far?

Landry with phaser rifle
source: discovernow.tumblr.com/

It is true that we have seen several women in positions of power on “Star Trek: Discovery,” but  things have not gone well for them. For instance, although she survived the attack on the Shenzhou, Conn Officer Lt. Keyla Detmer (Emily Coutts) now appears to be severely injured, resulting in the need to wear implants. Next, Michael Burnham (Sonequa Martin-Green) fell from the position of First Officer on the Shenzhou to that of convicted mutineer. Then consider Commander Ellen Landry (Rekha Sharma), U.S.S.Discovery’s Chief of Security, who let devotion to her male Captain cloud her judgement. This lead to her being mauled to death by the giant tardigrade-like creature she had named “Ripper.”

And then there is Captain Philippa Georgiou. Not only was she attacked and betrayed by her female First Officer and soon after killed aboard T’Kuvma’s ship, but her remains were unceremoniously devoured by the Klingons, as described above.

What woman of power are left? Not Sylvia Tilly (Mary Wiseman). At this point she is still a Starfleet cadet. And, yes, Burnham will eventually rise, but her position is currently “rank: none.” There’s Admiral Katrina Cornwell (Jayne Brook). We haven’t seen much of the Admiral up to this point. Right now she’s just a holographic projection in Lorca’s ready room. Although we will see more of her in episode 5, that leaves one female: L’Rell, the Klingon of both House T’Kuvma and House Mókai — a house she describes as “The watcher clan, the deceivers, the weavers of lies.” She confesses to Voq that she does not wish to be a leader, but someone who can stand behind Voq and act as an enforcer and campaigner. I hope this does not mean that the only woman of power currently on the show can best be described as “scheming.”

Hopefully the most shocking thing about “Star Trek: Discovery” will not be that you have to be truly alien to be a woman of power.

Next week:  “Choose Your Pain”

Random Thoughts and Observations:

  • That first scene. Who knew that the replicator was such a violent environment?
  • What was Captain Lorca eating at his stand-up desk?
  • Why was the Shenzhou left intact and not set to self-destruct?
  • While we may understand why Lorca is comfortable with the way RIpper is being treated, why is this acceptable to the science-based crew?
  • A package that keeps chirping until you open it is pretty darned annoying.
  • What will Voq need to sacrifice? Will it involve compromising his core belief?
  • It’s a good thing the ship has an excess energy cavitation system< to compensate when they engage the displacement-activated spore hub drive. I love Star Trek #technobabble.
  • Stamets says he would have noticed a supercomputer on board the Glenn. How big would a supercomputer be in the 23rd century? Perhaps the size of the M5 computer? Smaller? Bigger?
  • How was Tilly able to simply remove one of the spore containers from the engineering test bay?
  • I am enjoying the adversarial relationship between Saru and Burnham.