“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.

“An enormous letter in a bottle, made of space and time” — Star Trek Discovery review, “Brother”, s2e1

Burnham at Spock's cabin door.
Star Trek: Discovery, Season 2, Episode 1
“BROTHER”
Posted by Clinton

With “Brother,” we find ourselves off on a whole new set of adventures with the crew of U.S.S. Discovery. And there are a few “new” characters along for the ride as well. How does this premiere compare to last year’s opener, “The Vulcan Hello”? This episode appears to go by faster, even though it is a whopping 61 minutes, compared to the 43 minute run time of “Hello.” It is brighter, wittier and more accessible. It lights up every inch of the new cinematic 2:35 : 1 aspect ratio of the frame. But it does rely on a series of standard “sequel” setups that it has to work its way through.

One of the fastest ways to get a sequel rolling is to shake up the lives of the characters in the story. In some cases, that means the people we saw together are now far apart and someone has to “put the band back together.” Admiral Kirk had this task in “Star Trek: The Motion Picture.” He needed to reunite with McCoy, Spock and Enterprise itself.

Of course, the distance between does not have to be a physical one. It can be an an emotional chasm that needs to be crossed. At the beginning of “Jewel of the Nile,” Joan Wilder and Jack Coulton do not appear to be living the carefree life that was promised at the end of “Romancing the Stone.”

Another way to jumpstart the story is by having things not turn out as we assumed they would. For instance, at the beginning of “Ghostbusters II,” the guys are not living the life of fame and fortune we assumed they would. They find themselves performing at children’s birthday parties. Or what about Sarah Connor? After defeating the Terminator, she finds herself in a mental institution, believed to be insane. And wait, we thought Luke and friends defeated the evil empire in the original “Star Wars.” Sorry. “The Empire Strikes Back” nixes that assumption.

In the season two premiere of “Star Trek: Discovery,” all these challenges, and more, are brought into play. And it is the job of “Brother” to set all the wheels in motion.


For starters, Dr. Paul Stamets (Anthony Rapp) has decided to leave Discovery for a position at the Vulcan Science Academy. The ship is simply too full of painful memories. “Hugh is everywhere I look, Tilly,” Stamets tells Ensign Sylvia Tilly (Mary Wiseman). “How much am I supposed to take?” Then there is the issue of Spock, who, we learn, is not on board Enterprise. He has taken an extended leave. Pike is sad. Burnham is sad. Oh, no! Someone needs to get the band back together!

Speaking of our favorite Vulcan, the backstory about his childhood encounters with Michael Burnham (Sonequa Martin-Green) paints a picture of less-than-ideal sibling relationships within the house of Sarek and Amanda (James Frain, Mia Kirshner). Although we already knew that this was not the most fun-loving of households, the chasm between Burnham and her foster brother appears to be extremely wide. That needs mending.

And then there is the status of the ship itself. One might have assumed that Discovery would only be rendezvousing with Enterprise, or maybe going on a joint mission. Instead, we learn that Enterprise has experienced a sudden series of ship-wide systems failures and will be towed back for a full set of diagnostics. Captain Pike (Anson Mount) takes temporary command of Discovery to investigate one of a series of seven mysterious red bursts that have appeared in the galaxy.

That’s a lot of setup. But Director/Co-Creator/Executive Producer Alex Kurtzman and teleplay authors Gretchen J. Berg, Aaron Harberts (both former Executive Producers) and Co-Executive Producer Ted Sullivan manage to put all the pieces into place.

Pike asks Detmer to "fly good."

As the episode ends, Captain Pike has donned a Discovery uniform, we have been properly introduced to the bridge crew for the first time, and Burnham is on a personal mission to save Spock. Looks like it’s time to book an arena tour. The group is getting together again!

Random Thoughts and Observations:

The fortune Pike finds on the floor of Lorca’s ready room reads, “Not every cage is a prison, nor every loss eternal.” This seems too on point to be taken literally. As you may know, the character of Christopher Pike was in the original pilot of “Star Trek.” The episode was titled “The Cage.” And it was not a prison. Then there is the loss of Dr. Hugh Culber (Wilson Cruz). Is that the loss that will not be eternal?

The producers have mentioned that this season will touch on various matters, including religion. The so-called Red Angel appears to be a manifestation of this theme. It is noted that, unlike other iterations of Trek, this episode in particular was conspicuous in its use of dialog such as “I bless you, Michael,” and “Oh, thank Christ you guys are here.” Trek has had takes on religion in the past, in fact it was a major factor on “Deep Space Nine.” It will be interesting to see how this plays out.

There were a few scenes that appear to indicate all is not as it seems. For instance, Pike is genuinely confused by the way Enterprise experienced system-wide failures while attempting to investigate the red signals. Then there is the fact that, in the middle of a hectic situation, we specifically hear Pike ask Commander Jett Reno (Tig Notaro) if she knows anything about the signals. She says she knows nothing. I doubt that is true.

In the opening voiceover, Burnham recounts the ancient African story of the girl who stuck her hands into the wood ash and threw them into the sky to create the Milky Way. Burnham says that there was a message hidden there, among the stars. “An enormous letter in a bottle, made of space and time, visible only to those whose hearts were open enough to receive it.” I was able to track down the story, but could find no reference to this secret. You are welcome to read the story yourself and draw your own conclusions: The Girl of the Early Race, Who Made Stars

Next episode: New Eden