I have mixed feelings about Disco ending. I really dug the first season’s look at a Federation at war, and following the person who arguably set that war in motion dealing with her culpability. Add to that a ship that is part weird science lab, part haunted house. And yeah, I could live with the Klingon redesign.
It was inventive, it took risks and broke some moulds — and not always successfully, mind you. But I stuck with it from the hopeful “First three seasons are for growing pains” Trek paradigm.
Then the show took some odd turns. Rather than focusing on the crew’s adventures in space and science, season two constructed a cosmic conundrum around Burnham and her family. I was still on board for the characters, even bearded Spock no matter how shoehorned in he felt. The show’s unapologetic optimism was still a big selling point, too.
With season three came the time jump into a future that absolutely does not feel like it’s a thousand years ahead of the previous season. The jump in technology should be proportional to a Viking longboat rocking up to the ISS, but it felt like a step back. And at this point, the extended crew of the Discovery was thoroughly sidelined: Burnham’s personal relationships took priority over everything else.
For one example: As great as Michelle Yeoh is, the show basically redeemed a murderous space despot because… she reminded Burnham of her Starfleet counterpart?! I’m going to stop you right there, Captain “This is Starfleet” — this is a person who kept rubbing in Saru’s face how familiar she was with the taste of his species’ flesh.
I’ll keep watching Disco through to its end because I’m invested in the remaining characters, but this isn’t the show I apprehensively fell in love with anymore. Its strengths are all but gone, its faults enhanced, and its commercial(?) failure seems to have convinced the Powers That Be that future Star Trek needs to be grounded in nostalgia for previous eras.
I will miss the first season’s promise of new, daring Trek shows writ large, and as much as I liked Pike and his crew in season two, SNW leans too heavily and knowingly on the franchise’s campier canon for my taste (I know I’m in a minority with that opinion, and I’m not here to argue for or against). With peak TV fading, I’m afraid we won’t see anything as bold as TNG, DS9 — or early Discovery — again.
I’ll disagree with a couple of points here.
This presumes that technology always develops at the same pace (it doesn’t), and also ignores the two major cataclysms that the Federation endured, in the form of the Temporal Wars and the Burn. And even then, we see that the technologies we’re used to are faster and more efficient (the transporters are absolutely nuts), and we’ve seen new developments such as programmable matter. The pre-Burn Starfleet ships we’ve seen look like abstract art installations, and I think they absolutely look like they’re well beyond anything we saw 900ish years prior.
As for Burnham…while it’s indisputable that she’s the main character of the show, the entire principal cast gets plenty to do - much more than they tend to get credit for, which is a shame. They’re a great ensemble.
I agree about fluctuating rates of technological progress, but surely not at the scale of almost a millennium. I did expect some more creative choices from a production standpoint; like the thoughts and development that went into the (far closer) future technology of Minority report.
Yes, Disco’s personal transporter in the 32C was a pretty big deal, but only a logical progression from what had already been established throughout the series. “Programmable matter” was really just techno babble for hand held replicators, or 3D printers really — and detachable nacelles, how does that even work?
I will rewatch the show before the final season, and I look forward to another peek at the pre-Burn ships you mention. As I recall we barely saw them before they exploded but your description definitely makes me want to revisit those scenes!
On the balance between ensemble and lead focus — I think we’re more aligned here than it seems. I wanted more scenes from crew perspectives because what we got was so good in terms of acting and chemistry, and the cast were clearly up to carrying the show to a greater degree if they got the chance.
[Edit because apparently I can’t spell “development”]
From what we’ve seen so far, I don’t think that’s quite true. For example, there’s no indication that programmable matter is edible. It also seems to be able to assume its forms with little-to-no power input, once it’s been programmed to do so. I hope we get to see its advantages and limitations more in the future (heh), but I really do think it’s a unique technology.
Superconductors, according to “That Hope Is You, Part 2”.
I should clarify, then, that I’m talking mainly about the ships we saw clustered around Federation Headquarters in season 3. Maintaining the cloaking field around HQ sadly kept them out of the action, but some of them are gorgeous. My personal faves (and I’m going to unabashedly pull from outside sources like STO to get the best possible images):
Eisenberg-class:
Courage-class:
Saturn-class:
Angelou-class:
And of course, it turns out that Federation HQ itself is a fully-capable starship:
I saw a lot of hate for the Saturn class, and the arguments made sense assuming classic Starfleet designs and concepts.
I, however, love it because it begs the question: why? What is that for? And my mind jumps to all sorts of cool technobabble uses for such a weird ship design.
Some weird portal experiment? Evacuation ship made to maximize shuttle bay access? A specialized science ship designed with tons of inward-facing sensors? The mind boggles with possibilities.
The people who hated in it see wasted space. I see an unopened techno-mystery-box.
I don’t know if this makes me a radical, but I personally think that the truest sign of an advanced civilization is if they’re building these things because they can.
Art on equal footing with science, y’know?
That’s fair, and I think Starfleet HQ fits that bill. But I think (at least in my opinion of architecture as an art form, which I think starship design falls under, since people live and work there), I’d be frustrated to work on a Saturn class if that big hole did nothing, and made navigating between any two places on the ship more of a pain. That said, with personal transporters, maybe it’s not an issue (assuming this ship isn’t near any action that could make personal transporters inoperable). Maybe it would work well as a sort of diplomatic vessel, where having all these rooms with windows facing into the ring (like a giant round table) could be artistically conducive to discussion. Maybe they have a bunch of huge holo emitters in the ring, and they use it to project the current speaker, or just cool holo-art when not in session.
Yeah, and those sorts of whimsical designs could even point to exactly where the Federation was before the Temporal Wars and Burn happened and put them into survival mode.
All the more sad.
I honestly would love to see a “Utopia-Realized Level Federation” series, even a limited run, where all the plots are philosophical, artistic, interpersonal, or scientific.
Oh those ships! Yeah, I think that episode skimped on the ship porn, I could have sat through another couple of minutes of that scene 🙂
Tbf, when you wrote “abstract art” my hopes were for a ship that looks like a 3D Jackson Pollock, but I can rationally see how, even in Star trek, that wouldn’t be feasible for space travel…
Dang put this comment on Memory Alpha
https://memory-alpha.fandom.com/wiki/Correct_opinions
Thanks for sharing those pics. Who knew star fleet turned into the Orville??
Orville ships have the superior design.
My shoe runs ludicrously fast
Discovery also seems to employ the dimensional technology that the pod from the future employed on Enterprise, being much bigger on the inside
That’s not new. Turbolifts on the Discovery were depicted that way pre-refit, back in the TOS-ish era. It’s a (mind-boggling) stylistic choice or something.
Yeah but the season 3 finale took it to a new extreme