[EdNote:[Ednote:[ИздЗабележка:[Ednote:This piece contains some spoilers for seasons 2 and 3 of Star Trek: Discovery.]
Season 3 of Star Trek: Discovery sends the crew of the scientific ship of the same name far into the future, freeing the series from the established canon of the franchise. It was a bold move for showrunners Alex Kurzman and Michelle Paradise, allowing them to explore issues such as resource scarcity – previously anathema to Trek’s largely utopian principles – and show a version of the United Federation of Planets in even greater decline. than is in Star Trek: Picard.
As the episodes aired in a world that felt absolutely boned due to the combination of the COVID-1
Lack of resources
The main conflict in Season 3 is the burnout, a mysterious event that affected dilitia – the element responsible for traveling faster than light and much of Trek’s other great technology – and left the quadrant reduced and fragmented. Dilithium was in short supply in the period immediately before and especially after the Burning, leaving the Federation and various other factions to be able to use force only on the basis of their declining stocks.
Star Trek has always existed in the future after scarcity, so this turnaround has allowed a huge rethinking of the way different species and planets will evolve and change to meet the challenge. The fact that the Federation was so badly affected has given a particularly grim metaphor for the current decline of the United States as a world power. Realism in the near future of Space it made it a much better place for stories about humanity’s endless struggle for resources and the people that inevitably exploited and neglected it, but it certainly had the potential to approach the subject from a Star Trek lens.
One of the plots criticizes colonialism, and the Emerald Chain trade union gives a powerful argument in favor of the main directive – a ban on Starfleet interfering significantly with extraterrestrial civilizations. Emerald Chain appears to offer great solutions to problems such as environmental crises that depend on their ability to use the resources of the planets they help.
The idea shows Star Trek fans how lucky the Earth was to make contact with friendly volcanoes before colliding with other alien species, and fits in well with the questions raised in 2020 about the extent to which the Earth can actually to unite if extraterrestrial life arrives here. But until season 2 of The Mandalorian provides a powerful analysis of the way in which the great powers trample on the indigenous population, Star Trek: DiscoveryThe writers of “decided to study the topic with a solution that has all the nuances of Captain Planet an episode with some empaths using their connection to nature to solve a problem that the Emerald Chain is supposed to help them with.
Discoveries that come with the future shake future policy, with the ship and its spore engineer Paul Stamets (Anthony Rapp) becoming the best commodity, providing a non-dithylide method of traveling faster than light. The show is best when the crew provides light in a dark world, such as when the protagonist and casual first officer Michael Burnham (Sonekwa Martin-Green) inspires a man who keeps a watchful eye on the remains of Starfleet, even though he is never officially introduced as a member. But his utopianism reached ridiculous levels through Admiral Charles Vance (Oded Fehr of The mummy and Resident Evil: Disappearance), whose ignorance of real politics in demanding a ridiculous number of concessions from a powerful potential ally – including the fact that it faces a war crimes tribunal – makes it confusing that it has achieved such a high rank. His intransigence pays off anyway in ways that feel like a completely unspecialized plot.
Dealing with the trauma and burden of leadership
At the end of season 2, the Discovery crew heroically agrees to travel to the distant future in a desperate attempt to save all life in the galaxy, and at the beginning of season 3, they try to come to terms with the consequences. Kelpian Sarah ‘s crew member (Doug Jones from The shape of the water and Helboy) finally finds the courage to take on the role of captain, but he also finds himself in an extremely difficult position to get a crew of perpetual superspecialists to admit that they have been pushed to the breaking point.
This storyline left ample room for comment on mental health issues when working with high stress, along with some mature personal plots to adapt to change. 2020 was certainly a year that could use more thoughts and stories around these ideas. But they were largely simplistic, misused, or used for awkward comedy. Since then, it has been led by Lieutenant Keela Detmer (Emily Coates). Discoveryis the first episode, but has received almost no character development, so the arch exploring its instability after the leap into the future could correct this omission. Instead, it is considered allowed as soon as she is ready to ask for help.
Sarah also had time to shine in the captain’s chair. Instead, he left making meta-jokes about what catchphrase he should use when placing an order. When Michael is stripped of her role as first officer for disobedience, he promotes Ensign Sylvia Tilly (Mary Wiseman) in her place, a decision that apparently has more to do with writers who don’t know what to do with Tilly than anyone else. world logic. Michael may be the only character whose rainbow has a satisfactory conclusion this season, but again it comes at the expense of Sarah. It seems that Jones was written off from the show at the end of this season, which is probably for the best, because the actor deserves better.
Paramount grabbed a lot of attention in 2020 with the announcement that season 3 of Discovery will include the first major trance and non-binary characters in the series, Gray (Jan Alexander) and Adira (Blue del Barrio). Their presentation should be a powerful embrace of representation in the once-emotional franchise, which lags behind the progress made by other major shows. But the idea fell apart because the screenwriters couldn’t decide what approach to take on the characters.
The ideal way to introduce them may be not to even comment on their gender. This happened to Gray, who has just been introduced to Adira’s boyfriend. But instead of clearly stating her pronouns on arrival at Discovery, Adira called herself a female pronoun for most of the season before raising the issue with Stamets. Apparently, he was the first person Adira told about their gender identity, apart from Gray, which makes their identity seem essentially a shameful secret.
If they did not play the same role of depicting a more inclusive world as the original multiracial lineup of Star Trek, Gray and Adira could be used as metaphors for discovering and perceiving gender identity. This seemed to be the direction the writers were heading in the beginning, with the implantation of Gray Trill’s symbiote, who felt ready for gender reassignment surgery. After the procedure, Gray assured Adira, “It’s still me. It’s just more me. “And the change in Adira’s pronouns could have been part of them who came to terms with the way Trill’s host changed their perceptions of themselves. Given that the character is only 16, this plot could easily to be a support for the way some teenagers struggle to cope with their gender.
But the biggest problem is that both characters are simply used as accessories for the relationship between Stamets and his friend, ship doctor Hugh Culber (Wilson Cruz), who hit a rough stretch after Hugh returned from the dead in season 2. The writers sought to correct these problems with the classic romantic cliché that the two actually had a child in the form of Adira, although neither asked Adira to consent to the role. A plot revealed in the finale around Gray hints at a more significant arch for future characters. But this season they were just another example for writers who set bold goals and underperformed.
CBS All Access has already been renewed Star Trek: Discovery for the fourth and fifth seasons, which will be shot back. Showrunner Michelle Paradise says the Discovery crew will remain in the 32nd century and that season 4 will have the same focus as season 3 on “trying to make sure our characters can grow, exploring new relationships, exploring how people can change, finding new layers for each of our characters. “But writers also need to grow and change. It’s not enough to have great ideas or a desire to deal with difficult topics. The show needs to be better committed to those ideas and the bigger topics of the show if will handle properly by the characters, the franchise and the fans.