Between the four of them, Michael Chabon, Alex Kurtzman, Akiva Goldsman and Kirsten Beyer have written a lot of Star Trek: novels, comic books, films, and, of course, television. The series isn’t just that anymore – over fifty years after the original Star Trek was quietly moved to Friday nights and eventually cancelled, it’s now the jewel in the crown of CBS All Access, and a major international acquisition for Amazon Prime. That little television show has grown into an empire.
Or, put another way, it’s a franchise.
“It’s interesting this word ‘franchise’, right?” muses Kurtzman. “Because it feels like a very – Michael used an excellent word the other day – a very mercantile term, where everything is about ‘okay, we can sell this and we can sell that’. But I actually don’t think that’s what it’s about for any of us. I think that’s someone else’s job. Our job is to create great stories and figure out how to use all these different mediums to tell them in interesting ways.”
I’m really, really pleased with this one, actually – it is, I think, my favourite of the four Star Trek: Picard interviews I’ve done this week. Certainly, I think it’s the most insightful and most worthwhile as a piece of writing on its own terms – I’m particularly proud of what I was able to build out of the roundtable interview here.
Take a look!
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The parallels to the first episode are there, of course; it’s quite emphatic in its embrace of the cyclical structure. Where The Vulcan Hello saw Georgiou and Burnham saving a planet with a ‘water bomb’ to stop a drought, here they’re in conflict about using a steam device to destroy a planet; where Burnham once stood before a tribunal, she now stands before the Federation council. Over and over, there are echoes of the beginning, a reminder of the journey Discovery has been on. To borrow a phrase, it’s like poetry.
Taken together, it’s an effective piece of structural symmetry, particularly from a programme which has at times struggled with its form. But here it works, and it builds up to one central moment, something we can see that the show has been leading up to for some time: the definitive positioning of ideals over pragmatism, an embrace of Starfleet values and a rejection of the idea that they need to be compromised. Burnham’s speech to Admiral Cornwell – proving once more, if proof still were even needed, just how good Sonequa Martin-Green is in this role – is surely the defining moment of Star Trek: Discovery, the scene that makes it all work.
In that sense, then, Discovery does have a grand climax. It’s right there in the title, itself an allusion to the image we’ve seen each week as the show opens – a pair of hands, outstretched, reaching for one another. The connotations are clear, and the impact resounding; Star Trek: Discovery, despite the fumbles it made along the way, really does want to embrace the much vaunted spirit of optimism that’s so closely associated with the idea of Star Trek.
A review of the Star Trek: Discovery finale, which took me ages to write, but I was rather pleased with in the end. Not a perfect episode, nor a perfect season; I’m hoping to do a series retrospective at some point soon, but overall, I rather liked it.
(I never actually got around to that Star Trek retrospective, but I figure I might give it a go ahead of the next series.)
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