Tag: Alan Van Sprang

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“It was unexpected.” — Star Trek Discovery review, “The Red Angel” s2e10

Burnham and Spock
Star Trek: Discovery, season 2, episode 10
“The Red Angel”
Episode teleplay by Chris Silvestri and Anthony Maranville
Episode directed by Hanelle M. Culpepper
Review by Clinton

This episode contains a number of revelations. But do they make sense? Do the “shocking twists” grow out of things we’ve been told, or do they come out of left field and leave us feeling cheated. I’m going to try to figure this out. Let’s begin.

To start, let’s admit that we really don’t know anything more about the red signals than we did in episode one. This episode speculates that the Red Angel is creating them and then using them to get Starfleet’s attention. That seems to be a stretch. The Red Angel does not appear to be present every time the signals appear. The signals are still a mystery.

Okay, what about the Red Angel? After all, it pretty quickly began to supercede the Red Signals in the story.

As the episode begins, we find out that Ensign Tilly (Mary Wiseman) has come across code that was implanted in Airiam’s system by a digital parasite. It is here she finds a file labeled “Project Daedalus.” The file contains a bio-neural signature from the Red Angel, which is a match for Michael Burnham (Sonequa Martin-Green). That’s a shocking revelation.

Side bar: Was Tilly working in a sandbox environment? Given the nature of the future AI, it would seem that any trace of its code would be be extremely dangerous. In fact, Saru (Doug Jones) points out that Section 31 ships had all performed scans to make sure that the future AI had not infected their systems. Presumably Discovery ran the same scan. Apparently those diagnostics couldn’t detect code injected by a digital parasite. And Leland  (Alan Van Sprang) might agree. If he survives being stabbed in the eye.

But, back to the Red Angel. Dr. Culber (Wilson Cruz) performs tests on Commander Burnham and says that every test shows a 100% match between Burnham and the bio-neural signature found in the Project Daedalus file. He assures Admiral Cornwell (Jayne Brook) that he could detect if the signature had been artificially created. This assures us, the audience, that this is a fact we can build on. Yet, the information we have by the end of the episode would lead us to believe it was not Michael Burnham’s signature, but that of Burnham’s mother. Was Culber incorrect? Is the signature so broad that it covers both parent and child? That would certainly make the tests next to useless. Or have we been mis-directed once again?

Analyzing information supplied by Section 31, Stamets (Anthony Rapp) explains that the time travel suit works by creating a micro wormhole that the suit can go through. He explains that, because wormholes are inherently unstable, the suit generates a protective membrane that travels with the suit. Essentially, the suit is tethered to its starting point — a point in the future. And that this is how the future AI is slipping through to the past. We also learn that Michael Burnham’s parents created the Red Angel suit. But, since the suit was created several years in the past by Burnham’s parents, just how far in the future could its origin point be?

As mentioned, Leland reveals to Burnham that her birth parents were the ones who developed the Red Angel suit. He also says that he was inadvertently responsible for their deaths at the hands of the Klingons on Doctari Alpha. For years, Burnham has lived with the belief that she was responsible for their deaths, as she had begged them to stay on the planet to see a nearby supernova explode. Burnham has, in the past, recounted the story of how she, hiding in a closet, had heard the Klingons kill her father, then her mother, then sit down to enjoy the dead family’s meal. So, we, the audience, should accept the fact that young Burnham actually heard her mother being killed. In fact, she recalls the Klingons taking their time to commit the crime. But now that may not have been true.

Finally, Spock (Ethan Peck) believes he has uncovered the secret to determining when and where the Red Angel will appear. The Vulcan surmises that Burnham is the variable. Spock and Burnham explain to Captains Pike and Georgiou (Michelle Yeoh) that the Angel appears when Burnham is in danger. Therefore, putting Michael in mortal peril will cause the entity to appear. However, this conclusion does not appear to have any logical backing.

Consider the Angel’s first appearance to young Spock. Burnham was in danger and the Angel appeared to show Spock the young girl’s gruesome end, then showed him where to find young Burnham in order to save her. This would have been the least efficient and even least maternal route to take. Since the Forge creature was scared off by the light and sound of the Vulcan shuttle, there’s a very good chance it would have been scared away simply by the appearance of the Red Angel.

But, you say, perhaps Spock reasoned that the person in the Angel suit thought it would be best if Burnham did not see them. Why, then, did it appear to Burnham when she is injured and trapped on the asteroid?

The Red Angel Burnham falls from the suit.

Another thing odd about the appearance to Burnham on the asteroid is that Captain Pike instantaneously appeared in that same spot where the Commander was looking at the Angel. He would have seen the Angel, too.

But, you say, perhaps it can, for some reason, only be seen by one person at a time. This is not the case. Everyone in the church on Earth saw the Red Angel. And it was seen by both Saru and Siranna when it appeared on Kaminar to disable the Ba’ul ship. Speaking of that appearance, there was also no indication in this appearance that Michael Burnham was in any immediate danger. She was on board Discovery.

In the end, when the Red Angel is trapped on Essof IV and Michael Burnham’s mother (Sonja Sohn) emerges from the suit, it is shocking. But I don’t see how it was earned. Perhaps, in the remaining episodes, we will see the pieces turn in a different direction, so they can ultimately fit nicely into place.

Next episode: Perpetual Infinity

Random Thoughts and Observations:

  • The Red Angel guided Spock to a remote planet and showed him a vision of armageddon on a galactic scale. Why the long trip?
  • During the funeral scene, we see that Discovery is capable of running on autopilot. Is this a foreshadowing of the events in the “Short Treks” episode “Calypso”? There, the unmanned ship has maintained position for a thousand years.
  • Aspects of Airiam’s funeral were very reminiscent of “Star Trek II: The Wrath of Khan.” That movie continues to be a major touchstone for Trek productions.
  • Are we stuck in a time-travel loop? The AI sneaks in from the future, infects Airiam and used her to upload information from the sphere into Control, so that Control can evolve. Does that mean the future AI is an evolved Control? If so, why does it need to come back to get information into this version of the system?
  • Saru says that Control was only used by Section 31. In the previous episode Admiral Cornwell said Control was not accepting her input. She said that once the red signals started to appear, Admiral Patar lobbied Starfleet to have decision-making turned entirely over to Control. One would assume that Control was issuing threat assessment decisions to Starfleet. If it were not, wouldn’t all of Starfleet be concerned?
  • What is Georgiou up to with Stamets and Culber? Is she just amusing herself?
  • It was a nice beat to have Spock forgive Burnham and watch her take a breath, as a weight is lifted from her shoulders.
  • Burnham’s parents believed that certain technological leaps, including ones on Earth, were not the result of happenstance, but time travel. That sounds like an Erich von Daniken “Chariots of the Gods” line of reasoning.
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“Captain, I’m not the enemy here.” — Star Trek Discovery review, “Light and Shadows” s2e7

Tyler and Pike in shuttlecraft.
Star Trek: Discovery, season 2, episode 7
“Light and Shadows”
Review by Clinton

I’ve spoken before about relationships on “Star Trek: Discovery.” In fact, it was the basis of my review of the “Saints of Imperfection” episode. In “LIght and Shadows” the emphasis seems to be on testing the limits of these connections, pushing for answers and reconciliation.

Discovery and time rift

First, a bit about the episode overall, which has a story by Ted Sullivan and Vaun Wilmott, teleplay by Ted Sullivan and was directed by Marta Cunningham: While Discovery remains at Kaminar, studying residual decay that appears to be connected to the appearance of the red signal and the so-called Red Angel, Michael Burnham (Sonequa Martin-Green) travels home to Vulcan. Burnham believes her adoptive mother, Amanda Grayson (Mia Kirshner) knows more about Spock’s (Ethan Peck) whereabouts than she is telling.

Naturally, things do not go according to plan when Captain Christopher Pike (Anson Mount) and the crew of Discovery approach the “residual decay.” They find it has an impossibly high density of tachyon particles. Why is that important? In the “Star Trek” universe, tachyons have moved from the realm of theory to an actual faster-than-light particle that can be detected. Their presence is associated with temporal distortion (time travel). And as Discovery moves closer to the particles, a massive rift in spacetime opens before the ship.

We have already been peppered with suggestions that time travel could be involved in the mystery of the signals and the Angel. The appearance of the rift would appear to confirm all the speculation.

It is when Pike announces that he will pilot the shuttle tasked with launching a probe into the rift that conflicts begin. Section 31 liaison Ash Tyler (Shazad Latif) insists on accompanying Pike on his mission. Pike has an understandable distrust of Tyler, since Tyler’s Klingon personality killed Dr. Culber. And Tyler is growing increasingly frustrated at having his authority as a Section 31 operative marginalized by the Captain.

Once in the confined space of the shuttle, Tyler is determined to confront the captain. Even when the shuttle is pulled into the temporal anomaly, where other matters should take priority, the liaison baits Pike. Tyler accuses him of taking dangerous missions to atone for the fact that Enterprise was ordered to sit out the Federation/Klingon war. This type of psychoanalysis does not sit well with the captain.

On Vulcan, Burnham is also making accusations. She believes Grayson knows exactly where Spock is and is hiding the information from everyone, including her husband, Ambassador Sarek (James Frain).

Amanda Grayson speaks to Sarek
source: greenjimkirk.tumblr.com

Grayson also has some unresolved relationship issues. She confronts Sarek, accusing her husband of casting a blind eye at the humanity that resides in both their son and adoptive daughter. She reveals that the Vulcan Learning Center had no desire to help Spock overcome his human learning disabilities. As a result, the former teacher took on the responsibility of guiding their children through the looking glass world of outsiders attempting to survive in Vulcan society. She also rejects the notion that she is simply using Sarek’s position to protect Spock, virtually demanding Sarek see the truth.

Amanda Grayson:
I don’t live under your authority. I’m your wife. And I’m your partner. Try again, husband.

In all three cases, the accuser is correct. After the liaison saves his life, Pike confides to Tyler that he might, indeed, be taking dangerous assignments to absolve himself from the guilt he feels over being forced to sit out the war. Amanda Grayson admits to Burnham that she, in fact, is hiding Spock in order to protect her son from what she knows in her heart to be false accusations of murder. And Sarek, feeling the weight of the unwinding of his family structure, reveals, with as much emotion as he dare show, that his family is tremendously important to him.

And still there are confrontations yet to be had. Burnham must reconcile with Spock, for whatever act she committed to drive her brother away. We learn that Captain Leland (Alan Van Sprang) apparently must deal with his involvement with the death of Michael Burnham’s birth parents. And Ash Tyler must still face the man he murdered, the now very-much-alive Dr. Hugh Culber (Wilson Cruz).

Burnham and Spock

But Burnham setting course for Talos IV, as well as a glimpse of some familiar-looking aliens in the preview for the next episode of “Star Trek: Discovery,” may mean we put these issues on the back burner. For now.

Next episode: If Memory Serves

Random Thoughts and Observations

It was interesting to see it raining on Vulcan. I would imagine it needs to rain on the planet from time to time, as we have no indication that Vulcans can survive without consuming liquids. Still, it was a bit odd to see a storm outside Sarek’s home. Or was that a metaphor for the storm brewing inside the dwelling?

Apparently they have been there since the shuttle first appeared in the first season, but I was noticing the number of physical switches and knobs on the consoles in the pod. It is odd to have such a predominance of tactile controls here and seemingly nowhere else on Discovery.

It is odd that once the crew finds out the Red Angel appears to be humanoid, everyone immediately believes it is from the future. Why? Starfleet must have encountered several civilizations with advanced technology. And, as we see, virtually all of them are humanoid.

Lt. Rhys (Patrick Kwok-Choon) says that igniting the shuttle’s plasma to alert search parties is a trick that is taught in flight school. Which makes one wonder why, in the the original series episode “Galileo Seven,” Spock, or some other crew member aboard the shuttle, didn’t outright suggest it as a way of signaling Enterprise?

Spock disappeared in the Mutara sector. Presumably this is where the Mutara nebula, seen at the end of “Star Trek II: The Search for Spock” is located.

Airiam's eye

Something appears to have taken over Lt. Commander Airiam (Hannah Cheesman). Hopefully, when we find out what has happened to her, we will also have the opportunity to learn a bit about her.

Discovery engages maximum warp while in proximity to Kaminar, to avoid the time tsunami. That’s bad enough, but we don’t know how the temporal waves affected the planet itself. I would hate to think it rolled back time to the point where the Ba’ul still had the means to control the Kelpiens.

What has been happening on Qu’Nos all this time? Have the Klingon houses accepted Chancellor L’Rell (Mary Chiefo)?

If Georgiou (Michelle Yeoh) is quickly gaining so much power over Leland, could this be the reason Section 31 eventually goes back “underground” and is unknown to the majority of Starfleet later in history? Does she force it into the background, where it answers to no one?

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“Always.” — Star Trek Discovery review, “Saints of Imperfection,” s2e5

Star Trek: Discovery, season 2, episode 5
“Saints of Imperfection”
Review by Clinton
Source : first-officer-michael-burnham.tumblr.com

“Star Trek” has always been about family.

At first, family was implied. The relationships between Kirk, McCoy, Spock, Uhura, Chekov, Sulu and Scotty defined an unbreakable unit that transcended shipboard comradery. It led them, at various times, to sacrifice virtually everything for their friends. Then, with “Star Trek: The Next Generation” and “Deep Space Nine,” the introduction of characters such as Wesley Crusher, Alexander Rozhenko, Jake Sisko, Rom, Nog and Molly O’Brien, the association of “Star Trek” and family became grew stronger.

This is one of the reasons that season one of “Star Trek: Discovery” felt “off.” Captain Lorca did little to promote family. He was only interested in fostering, or downright demanding, loyalty and devotion to his mission. We did not get a sense of how all the other characters were bound together. We barely even met many of them or knew their names. Yes, there were isolated connections, such as Stamets and Culber, Burnham and Tyler, but there was no underlying feeling that Discovery was a single, extended family.

With Discovery under the temporary command of Captain Christopher Pike (Anson Mount), season two is finally beginning to bring out that element of family. Even if the show can be heavy handed about driving the point home.

In “Saints of Imperfection,” written by Kristen Beyer and directed by David Barrett, virtually every action is predicated on feelings of connection. Burnham and Stamets (Sonequa Martin-Green and Anthony Rapp) know they must try to rescue Tilly (Mary Wiseman), even if the risk is high. Tilly’s connection to “May” (Bahia Watson) binds her to the promise to not only slay the monster that threatens the JahSepp, but to “pinky swear” she will find a way to reach May again someday. Even Section 31 operatives Leland and Philippa Georgiou (Alan Van Sprang and MIchelle Yeoh) give indications that they would sacrifice something for the greater good.

source: likefreedominspring.tumblr.com

But the strongest way this sense of family is brought home is not the struggle to return Culber (Wison Cruz) to “normal space,” as powerful as that is, but the sacrifice Discovery herself appears to be willing to make in order to save Ensign Sylvia Tilly. The ship and her crew will literally be digested alive if the decision is made to enter the mycelial network. Pike ponders the risk. Then he, Stamets and Burnham encapsulate all that being a “Star Trek” family means in these three lines:

Pike:
From what I know of that young woman, she’d put her life on the line for any one of us.

Stamets:
That she would, sir.

Burnham:
In a heartbeat.

Pike goes on to address the crew, speaking of the promise of Starfleet. But it is almost a mute point. The connection between Tilly and the rest of the crew is already made. It is the key.

Of course, we are also reminded that family is complicated. While Burnham is pleased to see Ash Tyler (Shazad Latif) aboard Discovery, there is major distrust by Captain Pike of the Klingon Torchbearer who now works as a Section 31 agent. And Tyler has yet to confront one of his darkest moments, facing the man he murdered — Dr. Hugh Culber.

Emperor Georgiou is also problematic to the concept of family. She is literally not from this universe and often exhibits, at the most, mild amusement over the creatures in our galaxy. But there is that spark, that underlying urge to protect Burnham, and, by extension, Discovery that makes a part of us want to believe she is family, too.

There is also a danger in showing how the crew is connected. And that is our reaction to the appearance of an outsider. In the previous episode, “An Obol for Charon,” Engineer Jett Reno (Tig Notaro) figured prominently. She was there when Tilly went through her torment. She even eventually worked with Stamets on solutions. But now, she is nowhere to be seen. Perhaps she left the ship for another assignment, but her obvious absence rings of someone who said “Wow. That’s a tough break. Good thing it’s not my problem. Later!”

The creative team behind “Star Trek: Discovery” has done a good job so far of reversing the damage Lorca inflicted on Discovery’s crew. My only request is that they begin to back off a bit on having the characters say that they are family and use the overall story to simply show it. It’s how we grew to love the TOS family, and it can work here, too.

Next episode: The Sounds of Thunder

Random Thoughts and Observations:

Pike demonstrates that he is no fool. We witness Burnham’s understandable reactions upon seeing Georgiou, and then Tyler. Some scripts would have that as more of a moment for us, the audience. However, Pike tells the Commander that he made note of both of her reactions and that he knows she is keeping something from her Captain.

We also avoided a predictable set up to prolonged confrontation between Leland and Pike when Admiral Cornwell (Jayne Brook) tells them “Come on, fellas, cut the manlier-than-thou bullshit.” To their credit, they appear to do exactly that.

How do you portray the concept of being half-in and half-out of the mycelial network? Hats off to the effects team for giving a visual voice to the concept.

Tyler’s use of a badge-based communicator did somehow feel appropriate. Section 31 is not very open to sharing secrets. I think they might even find it amusing that Starleet needs to work though handheld communicators, and even ones worn on the wrist (“Star Trek: The Motion Picture”) before they figure out how to put the tech in a badge.

My wife, Bonnie, pointed out that Burnham’s first encounter with Tyler in this episode takes place in the mess hall, which is the same place they first met in season one.