Friday, March 2, 2018

Generic Ensign's Vlog: Voyager 3

Y'all I've been all kinds of sick. Like... so many kinds. Did you know that steroid inhalers can give you insomnia and panic attacks and horrifying muscle cramps? I did not. But I do now.

Anyway, I've been watching Voyager (and a whole lot of the Winter Olympics including every single Japanese Women's Curling Team game) so I've got a new batch of Generic Ensign entries for you!

Tuesday, February 13, 2018

Generic Ensign's Vlog: Voyager 2

I've been steaming right along through SSN1 of Voyager while I animate and, I have to say, it is refreshing to be watching this crew's story unfold. I worried that, after literally years of doing this blog and watching so much Trek I'd be too burned out to watch Janeway's gang again. But I'm not. In fact, watching Voyager in tandem with Discovery has been an interesting journey all on its own.

Anyway, here's my costumed commentary for Phage, Ex Post Facto, and Prime Factors. Are there any episodes you'd specifically like to see Generic Ensign's take on?

Wednesday, January 31, 2018

Generic Ensign's Vlog: Voyager 1

Has it been a while?

Am I still watching Discovery?
I mean, yeah.

Am I also watching Voyager (again) while I work on my myriad other weirdo endeavors like learning animation and producing my first animated short?

Did I decide to just go ahead and do a Generic Ensign series for this round of Voyager?

Am I just now getting around to it on the last day of January?
Well, yes. But mostly because I was super sick and also because I'm me and things take time.

Anyway, here she is. Back, and ready to provide running commentary on the Delta Quadrant:

Tuesday, October 3, 2017

Battle-Star-Trek-Galactica Turns A Corner With Context Is For Kings


At some point last week I began referring to Discovery as "Battle-Star Trek-Galactica" because that's what it felt like after the 2-part pilot. Don't get me wrong. I love BSG. I loved it from the first five minutes of the premier of the mini-series that aired what feels like seven million years ago. But BSG was grim. Like, Brothers Grim grim. But I loved it anyway, like I loved I a lot of the shows that came after it and were heavily influenced by it like The 100 (which I recently binged on a near pathological level and which is basically Young Adult BSG with swords.)  But... I didn't really want my Star Trek to be BSG. I wanted needed a little more hope, a little more optimism and, goddamnit, a little more of the crew.

That's why I think the bigwigs at CBS really, really, really should have aired the first THREE episodes of Star Trek: Discovery on CBS as what would basically be a TV movie-type event. The first episode leaves us with our main character being hauled to the brig after a mutiny. The second leaves us with the main character being sentenced to life in prison. It's grim and dark and sad and there's not even a titular ship or a crew to attach to.

I think that's why, after my first viewing of The Vulcan Hello and Battle at the Binary Stars, I felt sort of...bereft. Watching it the second time, with my husband, I was dumbfounded by how much more I enjoyed both parts and, as it went off and I watched the preview for (the apparently even darker) Context Is For Kings I realized what it was.

Like so many others, I was a little kid when TNG started. I spent my whole childhood with bright uniforms and mauve chairs and one-off episodes that almost always had a happy ending. The earth of TNG had no famine, no poverty, nearly no sickness. As a kid who was going through a lot difficult emotional and financial stuff that I didn't really understand... the world of TNG was appealing and inviting. And, watching the first two episodes of Discovery, I felt sad that this darker, harsher, angrier Star Trek wasn't going to be for kids. Telling my husband my feelings, I actually began to cry. Star Trek saved me in a very real way but Discovery isn't for kids. And... once I got those words out of my mouth... I actually began to feel a little more ok. Even if I did start going around referring to it as Battle Star Trek Galactica. This Star Trek isn't for kids but it is good.

And, isn't that more important? At least right now? My MAIN concern going into this Star Trek was that it would be bad. That it would be a cobbled together mess. That it would get panned and that it would disappear after one unsuccessful season and it would be another decade before anyone tried another Trek. But if it's good? Who knows? Maybe one season of Discovery will lead to two and three and more and then another Trek that is brighter and happier and more suitable for kids. But first, it has to be good.

This weekend, Scott and I sat down and watched the third episode, Context is For Kings. I watched it again today. It started out with Burnham six months into her life sentence and en route to a mining colony when the shuttle pilot had to go outside to do some fixing and abruptly died (read: grimdark.) They were soon greeted on Discovery by an actual BSG alum, Commander Landry or, as I referred to her for several years, Cylon Foster:

But, once on the ship, things quickly began to look more familiar (even if it still kept a lot of its Battle Star Trek Galactica tone.) Discovery is big and bright and full of officers doing science-y things. Burnham is met by First Officer Saru (who's somehow even better in this episode) and then by Captain Malfoy Lorca who wants her to help out around his super secret war research ship. She's assigned to engineering where she butts heads with astromycologist, Stamets, played to a pitch-perfect annoyed-as-hell-that-he's-doing-war-stuff-vibe by Anthony Rapp. Soon enough we get that Discovery is doing something seriously shady but it all feels a little better, a little less grim, thanks to Burnham's indefatigable new roomy, Cadet Tilly. I swear I almost broke into tears when Tilly opened her mouth and word-vomited this bright, boundless enthusiasm all over the place. Through the rest of this episode we're treated to some killer action sequences and a pretty perfect performance all around from Martin-Green who does science/action/sass/and sweet, remorseful remembrance all in one go.
When Burnham pulled out her copy of Alice in Wonderland and told Tilly about her adoptive mother, I cried. Honest to Kahless, I literally, legitimately, unabashedly cried. This didn't feel like Discovery was just throwing Trekkies a bone. It felt like they understood who they were, what they were doing, and where they were going. Up is down. Down is up. Even in the bleakest, scariest of times, there is hope.

I'm onboard.

My other takeaways:
-Captain Lorca is surrounded by Easter Eggs but my read of all of them is this: Lorca is a man who likes to possess and control dangerous creatures. The creature from The Glenn? The Gorn Skeleton, this whole crazy ass living propulsion system and now... Michael Burnham. And let's not forget the most dangerous creature in his whole collection, which he keeps RIGHT ON HIS DESK--a tribble. This sounds like a joke but I'm totally for serious right now. Someone might oughta check him for the Dark Mark.

-I'm up for any recitation of Alice in Wonderland but 1000 bonus points Burnham for delivering that whilst crawling like hell is on her heels through a Jeffries Tube.

-Vulcan martial arts are the shit. End of story.

-I love the return of memory cards and the forced perspective warp core.

-At the end of Discovery's third outing, I felt that, yes, this is Star Trek. Is this closer in theme and feeling to Deep Space Nine than TNG? Yeah. And that's ok. This is a Star Trek for a time of war, bitterness, hopelessness, and deep-seated prejudices that need to be questioned. In short, it's a Trek for the same sort of times The Original Series was engineered for. That series influenced popular culture in ways that were nothing short of phenomenal. I hope Discovery can do the same. But, hey, even if it can't, it's still damn good TV.

Thursday, September 28, 2017

The Vulcan Hello/Battle At The Binary Stars Vs Encounter At Farpoint

Before you ask, yes, I am still alive. Just really busy. Learning 2D animation is kind of intense and it eats up approximately 99% of my time. But you're not here to read about my personal misadventures (well, actually, maybe you are, I've definitely set a precedent for that) you're here because, for the first time in twelve years, there's a new Star Trek on television (well, a pay-per-month streaming service, but I'm not here to split hairs, unless maybe I am, I've also set a bit of a precedent for that) and, for whatever reason, you're interested in my thoughts regarding said new Star Trek.

Settle in, kids. This is a long one.

First off, a warning: There will be LOTS OF SPOILERS AHEAD so, if you don't want to be spoiled, just go ahead and stop here.

Discovery's pilot, A Vulcan Hello, finds Michael Burnham and her captain, Phillipa Georgiou, trekking around a desert planet hoping to help a species with their drought problems. When they get stuck under an incoming storm  and the Shinzhou's sensors can't locate them, Georgiou has the two of them walk in the shape of a giant Starfleet insignia and... somehow the Shinzhou can... pick them out from space? I don't know. In spite of this weirdness it's a fun moment but it still felt like a last minute addition to the pilot--something someone shoehorned in to say, "Hey! Please don't go anywhere! We promise this really is Star Trek!" because so much of the rest of the pilot feels kind of alien

But how alien? After finishing The Vulcan Hello I went over to (another monthly streaming service) Netflix and spooled up TNG's pilot, Encounter at Farpoint. And, as I watched, I asked myself, what is Star Trek? What does it mean? What does it set out to do? These are sort of big questions. But I've been writing this weird blog that is both about Star Trek and about the impact it's had in my life for four years now and I guess I've thought about these things as much as anyone.

-In spite of the silliness, I did love the chevron in the sand with the swell of the theme
-The line, "With respect, it would be unwise to confuse race and culture." Holy shit I love this line.
-Sonequa Martin-Green and Doug Jones are both well cast and perform in their roles admirably if, at times, a little stiff
-The Klingon language. This is, according to several Klingons I follow on Twitter, the most accurate version of Klingon we've ever seen on Trek because it comes from, hardcore fan and top Klingon grammarian, Robyn Stewart.
-Everyone calls Burnham, "Number One."
-Burnham uses logic to make the computer aid in her escape from the brig
-That sweet escape pod effect

So... both pilots are shaky. They move slower than they should because they are pilots and have a whole lot of exposition to get out. They both set up big questions, "Are humans worthy of space exploration or, even, existence at all?" and "Are humans (and this particular human specifically) ready to be part of a bigger and more nuanced galaxy than they had anticipated?" They both set out to feature strong female characters and both hit and miss the mark in ways that are both obvious and subtle. Both show off new, redesigned Klingons (even though both times the Klingons had been redesigned in interim movies.) They both feature a bit of a mystery (what's really going on at this space station/what's this weird object floating around in this part of space) and they both feature characters who struggle with their humanity (a must-have in Trek at this point.) They're both very clearly a product of their time both intentionally (when it's subtle) and unintentionally (when it's obvious and cringe-inducing) but that's also a solid Trekism now as well. Both have clunky dialogue and both, and this is important, came after a very long time without Trek on TV. 

When I was a kid, and TNG was about to premier, my parents (both die-hard Trekkies) almost didn't watch it. My mom grew up watching TOS with her little brother and cherished those memories and when I started this blog she told me how nervous she was about TNG saying that she was worried it would be too different... that something about it would taint those memories. My parents watched TNG anyway and loved it. And, because they loved it, I grew up on a steady diet of Trek. It's because they tried TNG that, on Sunday night, I found myself in the same position they were in thirty years ago. Thirty years ago today, in fact, was the premier of Star Trek: The Next Generation.

This morning, I asked my mom what she remembered about watching that premier. She said she remembers being worried, worried that they were remaking her Trek and that it didn't feel right but that she got totally involved with the new crew, especially Picard and Data and LaForge and Crusher and she was happy to see the way Starfleet had evolved over time. But, she was still hungry for her old Star Trek--her old TV friends. 

If I could go back in time, and watch Encounter at Farpoint with my mom, I would. I would ask her, "What do you think about these Klingons?" "What do you think about this female character?" "What do you think about this crew?" "What about the secondary characters?" "Does this feel like Star Trek to you?" But I can't. So, instead, I'll ask myself those questions in regard to Discovery. 

1- The Klingons
I've seen some folks complaining about The Klingon redesign. The design itself didn't offend me--in theory--though, Holy Light of Kahless I do miss that fabulous Klingon hair. I feel that Discovery is trying to add new depth and dimension to Klingon culture and making them look less human is likely a part of that. But, with all the extra apparatus on the actors' faces, I worry that it obscures their ability to really emote and this is kind of a problem because it's clear that the Klingons are going to be around a lot in Discovery and the emotional journeys of their characters are set up to matter. There's a reason that all the TNG-ENT aliens just had some kind of turtle on their head--because it let the rest of their face do some acting. 

2-The Women
Trek has always tried to have strong female characters. Going all the way back to Number One in TOS' pilot, The Cage. They often fell short, like when they only ever gave Crusher and Troi bad boyfriend plots for the first three seasons, but those characters grew along with the show and the introduction of Guinan (and the sorely underrated Pulaski) helped a lot. In Discovery we have Burnham and Georgiou. I like the idea of these two characters and the first ten minutes of pilot ensures that they pass the Bechdel test with flying colors but Burnham is kind of all over the place when it comes to whether she can keep a Vulcan grip on her emotions.  In spite of this, Martin-Green, portrays Burnham's issues capably and, at times, truly shines. Over time, I think she'll grow into this role and, really, I don't think it'll take that long. 
Georgiou, meanwhile, is played by Michelle Yeoh and should be kick-punching Klingons left, right, and center. I've loved (been a little in love with) Yeoh since I saw Heroic Trio when I was a kid and, when I saw that she was captaining this pilot, I was sure there'd be some epic fight scene that harkened back to the TOS roots only, you know, actually good. But... no. When Burnham and Georgiou transport over to the Klingon ship they're both immediately disarmed and the most we get of the captain is a bit of her "oofing" and "owing" while she's beaten up by T'Kuvma in the background. She's killed without even putting up a decent fight and that's a missed opportunity. Otherwise, it seems Yeoh has a hard time getting her mouth around all the techno babble. You could argue it's because English is a second language but I've seen her in other English language stuff (most recently Strike Back, in which she was amazing) and I don't think that's it. I think it's more likely that SciFi techno-speak is just hard for a lot of actors to deliver convincingly. It's something actors like Roxann Dawson and LeVar Burton seemed to do naturally but most folks have bigger issues and end up sounding stiff and robotic when they start talking about all the ways they could polarize the neutron flow or whatever. It seems like Yeoh falls in that second category. 

3-The Crew
Ok, this is my biggest issue with Discovery so far. Two episodes in and we still haven't even met the crew. Ok, we know two characters: Burnham and Saru (who kind of hate each other, more on that later) and that's it. At the end of the pilot, Burnham is court-martialed (another Trek mainstay) and shipped off to the next episode where we will presumably meet Captain Malfoy and the rest of the Discovery crew. But, as much as Star Trek has always featured specific characters who stood out, as much as Saru is this Trek's Spock/Data and Burnham is this Trek's Worf, Trek has always been about the crew. These are the TV friends that make Star Trek as comforting as it is thought-provoking, interesting, sometimes action-packed, and, in turns, funny. The crew is the reason you tune in (or buffer, as the case may be.) 

It's about people who love each other, who would fight for each other, who respect each other even if they don't always agree, and who would stand shoulder to shoulder together to do the right thing--even if it means doing the impossible, even if they're flying headfirst into the no-win scenario. Here, all we have so far are Burnham and Saru who bicker incessantly while the captain tries to regain control of her own command. It irks me a little bit but, then again, it wasn't so long ago that I rewatched all of TOS and had to be reminded that, while Spock and McCoy would do anything for each other, they were constantly at odds. Discovery is much closer in era to Kirk's crew (and their tendencies) than that of Next Gen and their kumbaya dynamic. And, when rewatching the TNG pilot, it was interesting to see the way Tasha was constantly trying to jump and in take the militant route, the way Riker is set up to be a guy who has a tendency to second-guess his captain, the way Crusher straight-up disobeys orders by bringing Wesley onto the bridge (or the turbo lift adjoining the bridge.) In the next episode we'll (I assume) meet Discovery's real crew and I'm hopeful (and optimistic) that they'll reveal a crew we can latch on to.  

4- Secondary Characters
One of my favorite characters in all of Trek is Sarek. I loved him in The Original Series and I love that the national treasure that was Mark Lenard returned to play him in the breathtakingly beautiful episode, Sarek, in The Next Generation. I love that character. And, while TNG had a passing of the baton from McCoy to Data, this episode had Sarek. He's played very capably by James Frain and, because I just finished up Orphan Black I expected to be a little traumatized at the sight of Ferdinand with pointy ears but Frain acquits himself admirably. I was slightly more distracted by all the ways Discovery managed to have Sarek chat with Burnham on the regular. Flash back? Check. Star Wars Full Body Hologram? Check. Long distance call made possible through mind meld? Check. Considering Burnham is basically Spock's adopted sister, I wonder whether Spock was subjected to this kind of incessant parental check-in. Was Sarek there in the radiation chamber with Spock saying, "Son, forget these losers and I'll take you out for milkshakes." It opens up an interesting can of worms. Like, giving a superhero the ability to go back in time, why can't he just go back in time whenever he gets into trouble now? It's a dangerous precedent but I'm interested in seeing what they do with it--if they keep it around.  

Anyway, ONWARD! 

Lt Saru, played by the wonderful Doug Jones is, like Burnham, also conflicted in ways that don't seem on purpose. He has the whole, "My species can sense the coming of death," line which feels a little more magic than science but, whatever, I totally can buy that a species could evolve a heightened instinct of danger. What's interesting to me is the fact that he's not just played as a cautious worrywart but as a coward. He's pretty terrified of the unknown so I'm not super sure why he's serving in an organization whose sole purpose is to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before. Is he really the guy you want on the bridge informing all your decisions? I don't know. But I'm interested to see. Up to now every single character on Star Trek (minus, maybe poor Harry Kim) has been the fly straight into danger headfirst because COURAGE! So what can they do with a guy who's proudly afraid of everything? 

In Enterprise a big part of the story was how in-over-their-heads the crew was. Here, it seems more like this iteration of Starfleet is, probably unintentionally, being imperialistic and simplistic in the ways they deal with alien species and these characters and (as yet unseen) crew will have to figure out how to better navigate the complicated diplomatic waters of the galaxy. And that's fine. It's potentially a more nuanced version of Star Trek and that's a good thing. Ideas in black and white tend to reinforce our current beliefs, but ideas presented with nuance, in shades of gray, make us think. And Star Trek has always sought to get us thinking.

In both Encounter at Farpoint and The Vulcan Hello, we get a trial. One is a trial of humans as a species. The other is the trial of one human in particular. 

Encounter at Farpoint leaves the viewer with the message that, yes, humans screw shit up. Humans have been imperfect and impetuous and dangerous to themselves and others but, at their core, humans are capable of so much more. They are capable of so much good. The episode ends with the hint that we will continue to be judged, as a species, by our own actions, by the way we treat each other, by the way we treat those less familiar, those who we fear because they are so different and dangerous. 

The Vulcan Hello ends with the admission of guilt by one human for betraying her crew, her captain, her friend. Starfleet is cast in shadow. Burnham stands alone in a single pool of hard light. From here on out, as in TNG, Burnham will continue to be judged, as an individual, as a member of her species--a member of Starfleet--by her own actions, by the way she treats her fellow officers, and the way she treats those less familiar, those who she fears because they are so different and dangerous. 

It has been my hope, for as long as I've been writing this blog, that a new Star Trek series would show up on TV and I'd get to write about it. This weekend that happened. And it made me remember being a kid, watching TNG with my parents. It made me remember growing up with Star Trek--watching it through my parents' divorce, through all the moves, the shuffling back and forth, going in and out of poverty, learning to deal with sickness, death, loss of friends, family, learning hard lessons about the world but, all the while, tuning in to Star Trek. All the while looking at this bright, shining, optimistic future and thinking, "This is a place for me. This is a future that I can believe in. This is a humanity I can believe in."

I hope that Discovery will eventually come to the same place that all Star Treks have eventually found themselves. A place where they can prophecy hope and optimism and a future where we are better than we are now. Burnham's path seems dark and difficult and outside the scope of the rosy-colored TNG era that so many of us think of when we think of Trek. But Star Trek has always been a reflection of our times. And now, our times are dark. I hope, in spite of this darkness, though, that Discovery will find a way to be a beacon of something brighter. Something that can both inspire and comfort. Something that can speak to kids who are downtrodden and say, "It gets better. There will be a place for you and it will be better than the place you are in now." I hope that they will. 

Like my mom, thirty years ago, I am interested in this new Trek. But I am also hungry. I'm hungry for the themes of hope and optimism that have always accompanied Star Trek. And I'll be watching Discovery, every Sunday, to see where they go and what they do. Unfortunately, my mom won't because, like so many other people who need to hear a message of hope in these dark times, she can't justify the monthly cost of a streaming service for a single show. Instead, maybe she'll watch The Orville (Seth MacFarlane's love letter to Star Trek) which has hardcore geek references, a solid crew, a big dose of optimism, and enough pluck to go around. 

Tuesday, August 22, 2017

Enterprise Re-Watch: Exile

First order of business: I can't wait for Discovery to finally get here. I'm still loving Trek and finding it hard to only watch a couple of Enterprise episodes/week but, with so much other creative work on my plate at the moment, I'm having a hard time coming up with new posts for this blog in general. My brain is just elsewhere a lot of the time and inspiration, for the most part, is draining into my art and animation stuff. Lucky for you, today I watched The Exile wherein Hoshi is lured to a planet with a lone, telepathic inhabitant and starts down a classic Beauty and the Beast path.

Let me just start by saying that I've never really liked Beauty and the Beast as a fairy tale, as the Disney film (in spite of its groundbreaking, gorgeous animation), or the novel(s) by Robin McKinley that Disney ripped off took inspiration from--and I'm a huge fan of Robin McKinley. When friends who know I love her work ask me to recommend one of her books I always give them Beauty because it's the most beloved of her novels. (I'm far more partial to The Hero and the Crown, if you were wondering.)

At its heart, B&B is about a woman finds herself in the care of a very dangerous man. She is isolated and subject to no one's company but his (and his is bad company, indeed) but, through the power of her love, he is changed into a kind, gentle, handsome, rich guy who gives her a castle with a big-ass, undying rose garden. I grew up around some dangerous men. I grew up around women who felt sure those men could be changed by the power of love. They never did, of course. Real life isn't like fairy tales or novels based on fairy tales or animated features based on novels based on fairy tales. Real life is just real life and I feel like it's just better not to get involved with jerks to begin with no matter how big their undying rose garden is or how many talking candle sticks and tea pots bring you breakfast every morning.

So this brings me to The Exile. The dangerous man in question, Tarquin, is our beast. He reaches out to Hoshi by getting all up in her mind and, at first, making her think she might be losing it. Once she's convinced she's not she persuades Archer and the gang to find him. He promises to do some magic Xindi-themed sleuthing on the condition that Hoshi sticks around his creepy castle for a few days while Enterprise heads off to check out one of the spheres that's been giving them so much trouble. Hoshi agrees even though literally everyone is creeped out by Tarquin. She insists she can take care of herself. She's not some defenseless 18th century French peasant girl, after-all. She's a member of Starfleet.

So, Hoshi sticks around and Tarquin reveals himself to be more and more creepy as the days pass until he ultimately tells Hoshi she's not allowed to leave his Dracula castle because she's going to stay there and be his companion until she lives out her relatively short existence. Hoshi's all, "Ummm. No," and threatens to smash his prized telepathic gizmo until he finally relents and releases her. She goes back to Enterprise, happy to put the whole incident behind her, when he shows up one last time to give her the Xindi intelligence he was able to suss from the telepathic ether. And they all lived happily ever after. The end.

I'd like to say I'm proud of this episode for veering off course from the traditional Beauty and the Beast ending but really it's not as though it could've ended differently. Hoshi had a bad boyfriend as part of a larger scheme of terrible Trek boyfriends which is part of an even larger theme: one episode relationships never end well. Anyway, I am proud of the fact that it was Hoshi who got herself out of trouble in the end. (PS- I never wrote about this but one time Hoshi actually did have a good one-episode fling while Tucker and Reed got themselves tied up in a basement. See episode: Two Days and Two Nights.)

While I watched this one, I did a little fanart:

Friday, July 14, 2017

Trek: Prestige vs Commodity

Over the last few months I've watched a lot of episodic, 24 eps/season-type shows. Shows like The Murdoch Mysteries, Haven, Flash, and Elementary. Lately it's been Elementary that's my video wallpaper while I do color work on my comics and eat lunch and try to defend my living room from the constant influx of red-gray dust we get in the high desert. A few days ago I told my husband, "I think I actually prefer Elementary to Sherlock. I realize it's not as artsy and fancy but its characters' stories play out over a long period of time, which means they actually have more time to develop, which means I care more about them. It also has a sense of humor and it feels like it exists in a real world that's really well thought out and..." I kept going on this Pros/Cons monologue for a while and then today I found an article from said husband in my inbox. It was published in Wired and it's about the importance of "commodity SciFi" vs "prestige SciFi." It's a fantastic read and, since I've been thinking about the topic anyway and because it also made me think a lot about Star Trek: Discovery and the direction it's taking... here I am.

Since you're reading this blog I'm assuming you're a SciFi/Fantasy fan and/or some type of geek who isn't totally unaware of the fact that traditionally geek-ish tropes like dragons, zombies, robots, and super heroes are all being wheeled out for the consumption of people who like to think of themselves as high-brow. These shows win Emmys and public approval for their artistic take on traditionally pulpy themes/set pieces. And I've always had a bit of a thorn in my paw about them. It annoyed me that people who would turn their nose up at hobbits and wizards were more than willing to eat a full helping of dragons as long as it came with plenty of HBO-style drama. And folks who would never sit down to enjoy Supergirl or Batman: The Animated Series or Buffy will always pony up for superheroes as long as the heroes in question come with all the cable grit and grime we have come to expect from them.

Of course, this isn't always the case. I have plenty of friends who watch and love both LOTR and GOT, both Data and... whoever's a robot in Westworld. I myself loved Black Sails on Showtime and Strike Back on Cinemax. And, of course, I think all kinds of TV should exist for all kinds of people. If gritty serialization is your thing I hope you're dancing a jig at all the options currently available to you...just please do your best not to look down your nose at the all the people who rush to their TVs once a week, 20-25 nights a year, for a slice of their pie (which is bigger, btw, even if not made from top shelf, hard to acquire ingredients.)

And this brings me (nearer) to my point (I promise.) Star Trek has always been commodity TV. It's always been low-budget, cut-the-corners, rush-to-production, re-use the sets, re-hire day-players you can trust because you're screwed otherwise, how are we possibly going to make 24 of these again kind of TV. And... that's kind of awesome.

Here's why:
Aside from Star Trek being genuinely charming in spite (or because of) its traditionally low-budget and low-prestige rating, it's always had to push against its constraints and it's always had to push for a lot of episodes. But that's how innovation happens.

The Wired article mentions, and I've mentioned several times on this blog over the years, that Star Trek, like any genre show, reuses stories and tropes over and over. There's the memory wipe episode, the alternate-timeline episode, the fight club episode, the dream inside a dream episode, the conspiracy episode, the mistaken identity episode... etc etc etc. But that's alright. Because within those familiar tropes and stories is the ability to reveal character in surprising ways. And, because we've spent thirty or fifty or seventy episodes with those characters, those revelations mean a lot to us, the fans. I smile when the tribbles tumble out of the storage compartment, I cry when Picard plays his flute, I rejoice when Nog is accepted into Starfleet, I laugh when The Doctor sings about ponfar, I grin when Hoshi declares herself Empress. And I do these things because me, the writers, the crew, and the actors have all been through 43/176/173/168/94 episodes together.

And here's the other thing; notice how high the numbers are in the previous sentence? With commodity TV, episodes are produced on a weekly basis for about half the year, thus the approximately 20-26 episodes. After a while, this builds up, by the time you get to season three or four or five you've already done... everything. Well, at least it seems like everything. I've seen in various places that I don't care to google at the moment that writers/comics/artists come up with their best stuff after the first several tries. And the best writers/artists/comics are the people who don't settle with the first ideas that come out. Of course, if you're pushing out 24 episodes you kind of have to take the first great idea that comes along but once you're 40 episodes in you've run dry. Or, at least you think you have. Having to reach into the back of your brain is how you get episodes like The Inner Light and Tinker, Tenor, Doctor, Spy. It's how you get (what is probably the best hour of television ever) Once More With Feeling, the legendary Buffy musical episode that TV shows have been (mostly unsuccessfully) trying to reproduce ever since.

But the ideas alone aren't what make the episode magic. It's the combination of the idea (and the pen of the, by now, practiced writer) with the well known and loved (or hated) characters that produce the tears and the laughter and the grimaces and the way I still tear up if I even start talking about All Good Things.

Again, my point, (hey give me a break, I haven't been blogging regularly so I get a really long post to make up for it, right?) is that Star Trek: Discovery is consistently talked about as serialized with thirteen episodes. It's being billed like a prestige cable show when everything in Trek's history says it's a commodity show. Will they still have a groundhog day episode, a fight club episode, an alternate history episode? I don't know. Will they have an episode equivalent in feeling and magnitude to The Inner Light? I don't know, but that sort of depends on if they're around long enough to create the environment in which those episodes grow organically. No matter what, I'll be watching.

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