This has me thinking about the ways conflict between characters has been evolving over the course of the series. The pilot was jarring, insofar as we hadn’t much time at all to get to know Burnham, Georgiou, Saru before putting their relationships to the test.

It’s not hard to imagine that future history operates not unlike our own - periods of relative calm, with regional conflicts, punctuated by more infrequent larger-scale conflict. The large span between TNG and Nemesis essentially depicts one of these shifts in galactic geopolitics, where what appears to be a period of…

This does seem like a potentially confuddling point. Burnham has zero clue about the spore drive when she comes aboard Discovery. Even being in the clink for six months, having zero clue about the project suggests some degree of compartmentalization. It doesn’t seem like the same kind of secrecy surrounded the…

The first several entries - Burnham being so central, at the cost of what we think of as a traditional Trek ensemble cast. Adding the ensemble, filling in around her seems like an interesting, smart decision to me - a natural outflow from choosing to keep Michael so central to the premise. This is the right time to…

Random ‘pinions:

I’d like to compare and contrast this with Nate Berkus’ show where their reliance on “calling in favors” routinely brings the final tally to 2-5 times the homeowners’ original budgets.

The various takes on the Klingon material over the years have certainly improved the older I’ve gotten. Ron D. Moore is probably the biggest agent in infusing them with nuance and complication that flew past my twelve year-old self. There’s tension and conflict and complication there that’s just not possible with the…

We can point to a certain subset of fans that’s historically resisted evolution of the format. “It’s not really Star Trek” followed TNG, DS9, Enterprise - and gosh knows enough of the film entries in the series. One hopes those examples (well, most of them at least) provide sufficient evidence to hope that quality…

I’m definitely onboard with this being the kind of adaptation to modern, 21st century prestige Peak TV that the franchise needed. That being said, I still get an earful from other fans who’ve loudly decried Discovery for not sticking with (in my view) the comfortable formulaicism that predominated the TNG-Enterprise…

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That’s my point. TOS was more representative of Gene’s fluffy, cuddly utopianism - TMP even moreso, than the Starfleet depicted in TWOK and the later movies through TUC.

I’ve come to understand any new Trek product has the immense weight of fan expectation upon it. Probably superceded only by Star Wars in terms of scale.

I started reciting Carol Marcus’ monologue for the Genesis proposal in my head.

No - I’d intended it for you. I don’t think Kinjimprove moved anything around.

It’s not inconceivable that the geopolitics of the 23rd century have a cyclicity to them - that Starfleet’s mission adapts between its militaristic and scientific aims to meet their circumstances. We could argue that the evolution of the TOS into the TWOK-onwards era depict one of those shifts. Similarly, the placid…

Mention upthread is made of Nick Meyer’s involvement.

I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.

Random ‘pinions:

1) Points for including “Movable Feast”. The snappy patter underscores the perfect comedic rhythms of the writers and cast working in elegant simpatico.

But seriously, this is either one of the most blatant troll attempts or is one of the fucking stupidest comments I’ve ever seen on this site.