It is a TOS and DS9 inspired work that echos the best movies. It is a pilot that stumbles a bit, but is pretty and well acted. It was the first new series since I met my wife (ENT was new when we met). And it is the only Star Trek series my father is not alive to watch with me.

We watched the premiere of every show other than TOS together. For Enterprise, we were on the phone before and after. For TOS, I grew up with us on the back porch, with a tiny twelve inch black and white TV with bunny ears tuned into Kirk, Spock, and McCoy, as he cooked dinner on the grill. The real world stars on the island were magnificent, and I learned their names from him.

For some people, it's a photo, or a food, or a place that carries memory of family. For me, it's a three note rising riff and a story of the conflict between law and good, set in the branch of metaphorical science fiction, one of the great wells of "what if" fiction that I was led to as a child and drank deeply from. Discovery manages to tap that well for Trek, after it has been dry for many years. After all, that's Starfleet's mission.

Sure, I have quibbles, but I don't want to get exactly what I expect in my fiction. Just make the story great. And if you need to slay a few sacred cows, fine. But there weren't many real deviations. Conflict on the bridge? Seen it before. Story arcs? Cool. Cliffhangers? It's happened. Have Harcourt and Sarek as bridges to what has gone before, and keep the heart: Space is dangerous and strange and beautiful, and earnest acts and hope and scientific wonder are eternal. Yeah, it's Trek. I don't care what makeup or fashion of the day the Klingons have.

#NeedToMakeANewCircle
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