STAR TREK: DISCOVERY Searches For Hope in the Future

 Article first published as TV Review: STAR TREK: DISCOVERY SEASON 3 on Seat42F.

WARNING: This review contains spoilers from the Season 3 premiere.

STAR TREK: DISCOVERY returned today on CBS All Access for a third round. Picking up right where the previous season ended, Michael Burnham (Sonequa Martin-Green) has successfully traveled 930 years into the future in her Red Angel suit. Unfortunately, the U.S.S. Discovery is not right behind her as she thought it would be. Now, she must travel an almost unrecognizable galaxy to find them again.

The episode, entitled “That Hope Is You, Part 1,” is essentially a two-person story. As Michael emerges from the wormhole, she smacks into a small spaceship owned by a man named Book (David Ajala, Supergirl), and they both crash on the planet below. Book is on a mission, which Michael has disrupted and does not figure into. She tries to endear herself to him so that he may help her, while he focuses on what he needs to get done. The story is of them coming to learn about and trust one another.

A lot of this STAR TREK: DISCOVERY premiere feels like Star Wars to me, and that’s not such a good thing. There are broad, alien landscapes (beautiful as they may be), strange creatures, lots of aliens, a vast, futuristic station that we only glimpse a small part of, and an extended chase-and-shoot season in which the bad guys can’t manage to seriously hit our heroes no matter how close they are and how many times they fire. Book is a trader who deals with shady people and seems pretty selfish himself. It’s much more action than most Trek, and appears to be lack the depth one expects from the scifi franchise.

But bit by bit, the Trek elements creep in. The aliens running things are Orions and Andorians, and we see Tellarites and Lurians in the background. These are familiar touch-points in a sea of less familiar races. We also begin to hear things about this future, mainly that a huge, catastrophic event called The Burn wiped out much of Starfleet and the Federation has largely disappeared. So we can start to see why the galaxy looks the way it does. Then, of course, there’s the big Book twist where we learn that he’s basically Newt Scarmander, and things immediately lighten up.

The pinnacle of the episode is when Michael and Book go to a Starfleet base where they meet Aditya Sahil (Adil Hussain, Life of Pi), a man glimpsed briefly at the start of the episode, who runs the empty station on behalf of Starfleet, but has never been commissioned an officer in the service. This man believes as deeply in the mission of the United Federation of Planets as Michael does, and he is the kindred beacon in the darkness. Never mind the lingering question as to why he has been left alone by the less savory aliens that are nearby. This scene is when the episode finally reveals itself to be fully Trek and gives viewers hope for the rest of the season.

There’s a lot about the STAR TREK: DISCOVERY premiere I didn’t like. The things I mention above, along with the total absence of the rest of the Discovery crew, whom I miss and desperately want to see again. Michael is not my favorite character on the show, and as soon as I realized this hour would be all about her, I groaned. Though, I admit, this was a solid episode for her and Martin-Green gave a great performance.

Yet, the genuine excitement sparked at the end almost made the whole thing worth it. There’s a cool mystery here, and a new mission. STAR TREK: DISCOVERY was a prequel to other Star Trek, and now with a goal of rebuilding the broken Federation, it’s almost a prequel set in the future as to how Starfleet came to be. This is a cool twist, maintaining a key element the show had before the jump, and I can’t wait to see how the rest of the season plays out. As long as the rest of the crew gets here soon.

STAR TREK: DISCOVERY releases new episodes every Thursday, only on CBS All Access.

Go Below With STAR TREK: LOWER DECKS

 Article first published as TV Review: STAR TREK: LOWER DECKS on Seat42F.

A new kind of STAR TREK has arrived, with STAR TREK: LOWER DECKS premiering today on CBS Access. It follows the ensigns who work on the lower decks of the starship U.S.S. Cerritos and do the grunt work of the vessel, not getting the credit and glory the senior staff enjoy. Oh, and it’s a cartoon.

Believe it or not, this is not the first animated Star Trek series. There was a show in the early 1970s called Star Trek: The Animated Series that starred the same cast as the original show, voicing their characters on continuing missions. That series took the liberties of a few big aliens and worlds that the live action budget could never have achieved, but was basically the same type of story the original had already told, albeit shorter. And also, speaking as someone who has seen all twenty-two episodes because I’m that kind of Star Trek fan, it was pretty bad.

STAR TREK: LOWER DECKS doesn’t need to go bigger on aliens, as Star Trek now has the budget and technology to do some pretty incredible stuff. It does, though, because why not? If you can do show races or shots you want, go for it.

My only complaint of this aspect is that it feels just a bit too cartoon-y. I’m not saying it should be as grounded as the its processor because, why even bother to make it animated then? But it’s just a tad too zany for the Star Trek universe, in my opinion. A cross between The Orville and Rick and Morty, I wish it been more of a cross between The Orville and Star Trek: The Next Generation.

TNG is the series that STAR TREK: LOWER DECKS owes the most to. It is set shortly after Star Trek: Nemesis, before disaster rocked the Federation and shook Starfleet to its core, as shown in Star Trek: Picard. This is from those post-Dominion War lighter times, with uniforms and starship design to match. The references are many and varied, and pull plenty of original series in, too, with Spock and Kirk getting shout-outs in the pilot. The visuals are full of Easter eggs, especially in the theme song, so it does feel set in the Trek universe, even if a few things get a little too wild.

The idea of focusing on the non-bridge crew has been around for awhile on Star Trek. It was the plot of a Star Trek: The Next Generation episode, also called “Lower Decks,” and is the subject of much fan speculation. So it makes sense in a time where we’re getting so much Trek, we’d eventually get around to that idea.

A great cast has been assembled. Tawny Newsome (Space Force) steals the show as Ensign Mariner, a very capable young woman who has problems with authority and a huge chip on her shoulder. She has the most interesting story, to be sure, but even if she didn’t, Newsome would shine. Her sidekick is Ens. Boimler (Jack Quaid, The Boys), who is much more predictable, but hopefully will grow over time. Secondary to the pair are Ens. Tendi (Noel Wells, Saturday Night Live) and Ens. Rutherford (Eugene Cordero, The Good Place), who are obsessed with their work in the most delightful way, and are surely destined to be a romantic couple.

But unfortunately, STAR TREK: LOWER DECKS doesn’t commit to this conceit of just portraying the junior staff. Instead, we see Captain Freeman (Dawnn Lewis, A Different World), Commander Random (Jerry O’Connell, Billions), Dr. T’Ana (Gillian Vigman, Suburgatory), and other senior staff pretty regularly. And of course these characters are great. But they aren’t needed, and I think the show would be far more interesting if we saw them only fleetingly if at all, like the president in the early seasons of Veep. I could excuse the captain, given her role in relation to one of the core group, and even the doctor popping up makes sense when Tendi is on duty. But the others are in the show too much.

In short, I like the show. Quite a lot, actually. But I think it misses the mark in a few areas that would elevate it to something really special. It’s good, but it could be great, and the squandered potential is a bit sad. Even if I still want it to run for years while I obsessively watch every episode. After all, it is easily the best animated Star Trek series ever made.

STAR TREK: LOWER DECKS streams new episodes every Thursday on CBS All Access, beginning today.

PICARD Engages

Article first published as TV Review: STAR TREK: PICARD on Seat42F.

I am a huge STAR TREK fan from way back. Even when I didn’t watch much television, I watched STAR TREK (admittedly, mostly the films and spin-offs; I was an 80s kid). I mourned it when it went away, and forced myself to be excited by the movie reboots of the last decade, even though I now admit that only one of the three is any good. (It’s Star Trek: Beyond, for the record, despite a few flaws.)

So when CBS All Access started bringing STAR TREK back, I was super excited. I mean, not about All Access, which is an overpriced gouging of Trek fans. But about the content. Star Trek: Discovery is amazing, a fitting evolution of the franchise that honors the legacy. The Short Treks series are more of a departure, sometimes experimental, but also very good on the whole.

And now, we have STAR  TREK: PICARD. Jean-Luc Picard is one of my favorite characters, and Patrick Stewart is a fine actor inside and outside of Trek. It’s a tall order to continue his story, and the modernization of Star Trek as evidenced by Discovery and Short Treks, not to mention Stewart’s own standards, demanded it be more than just a continuation of The Next Generation.

Three episodes in, it is succeeding admirably by just about every measure. Stewart is delivering a mesmerizing performance that imagines a future very different for Jean-Luc than where we left him, but in line with The Next Generation series finale, “All Good Things,” and the Romulan and Starfleet developments we know about in the intervening years. It’s a slow burn mystery, perfect for Picard the Dixon Hill fan. It embraces the aging themes of the excellent Kirk-led motion pictures, and also tells us something completely new. It’s a character study of a man who has been disillusioned and dissatisfied, but is determined to restore himself to someone he can live with before he dies. Yet, desperation is not present, instead showing his core personality tempted by discovery.

If that were all STAR TREK: PICARD was, it would be enough. And yet, it’s not. It’s a truly interesting story of Romulan politics and lore, a feat because I never found the species all that intriguing. It brings in lots of hanging plot threads from The Next Generation that I wish had been explored in a more serial nature and now they get to be. Data (Brent Spiner) is dead, but his presence haunts Picard and informs the current story, with dream sequence cameos feeling meaningful and necessary, not gratuitous, especially that perfect opening of the show with the Enterprise-D rendered more beautiful than it ever has been before. We hear again about Dr. Maddox (he’s got to be coming back, right?), Hugh (Jonathan Del Arco), the Borg, and so much more. Thank goodness, they left B4 in a drawer, right where he deserves to be.

The new characters are as equally fascinating as the lead. Raffi Musiker (Michelle Hurd, Blindspot) and Chris Rios (Santiago Cabrera, Big Little Lies) are new versions of Starfleet officers, those no longer with the service for traumatic reasons, a character type hinted at in Deep Space 9 and echoing Picard’s current status. Soji (Isa Briones, Takers) is deliciously unpredictable and hard to define yet. Narek (Harry Treadaway, Penny Dreadful), Commodore Oh (Tamlyn Tomita, The Good Doctor), and Lt. Rizzo (Peyton List, Mad Men) are a cadre of magnetic villains. Dr. Jurati (Alison Pill, The Newsroom) is terrific heart and comic relief. I love Zhaban (Jamie McShane, Bloodline), and Laris (Orla Brady, Fringe) has quickly become one of my favorite Trek characters of all time. I will be heartbroken if we don’t check back in with those latter two in the vineyard as the season progresses. Also, Voyager’s Seven (Jeri Ryan) hasn’t even made her much-anticipated return yet, which will surely be great.

By finding the most promising bits of TNG to continue and letting the story and situations evolve as circumstances and modernity demand, STAR TREK: PICARD is a triumph and perfect example of how to do a continuation decades after the original. It has something new to say, but is very much rooted in the existing mythology. It makes us rethink the TNG episodes as we realize the idyllic future we all admired from that show existed on the Enterprise, but not everywhere else (as DS9 also pointed out). It’s truly an amazing series that I am totally hooked on because of strong writing, direction, acting, and perspective.

Like I said before, All Access sucks in its pricing and depth of offerings. But you can’t miss this show, so I recommend you do as I have done, suck it up, and just give CBS your money. STAR TREK: PICARD deserves to be seen.

New episodes currently release Thursdays on the streaming service.

THE PURGE Of Story Over Action

Article first published as TV Review: THE PURGE on Seat42F.

THE PURGE is a movie series that is now being continued on the small screen, currently airing on USA. The premise involves a radical group called the New Founding Fathers of America taking over the government and instituting a holiday that shares a name with the series. Once a year for twelve hours, all crime (including murder and rape) is made legal, with emergency service workers going off duty. The rich huddle in their protected homes, while the poor are often the participants and the victims.

In this framework, viewers of the TV program meet a number of characters. Miguel (Gabriel Chavarria, East Los High) is a United States Marine who has come home looking for his sister on Purse Night. Said sister, Penelope (Jessica Garza, Six), has joined a cult that sacrifices themselves to those celebrating the event. Jenna (Hannah Emily Anderson, Jigsaw) and Rick (Colin Woodell, The Originals) consider themselves good people, but find themselves rubbing elbows with the morally questionable, especially Albert Stanton (Reed Diamond, Agents of S.H.I.E.L.D.), as they seek funding for their business venture. Jane (Amanda Warren, The Leftovers) usually plays by the rules, but decides to take on her boss (William Baldwin, Dirty Sexy Money) when she has the chance. And there are others, but these are the primary players in the first three episodes, those made available to critics for screening.

None of these characters are in the movies, but some of the organizations and concepts are. Unfortunately, if you haven’t seen the films, as I have not, the series doesn’t take the time to make the rules clear. Yes, it’s easy to understand that people are very violent and are allowed to get away with it for a night. But there are lots of details left out that apparently one would need to have seen the movies to understand.

This does detract from the enjoyment of THE PURGE. As a concept, I find it very interesting. Many have touched on such a thing before, including an episode of the original Star Trek back in the 1960s (which Ben Stiller’s production company is named after). And the show does seem like it will explore some of the concepts in the way (I assume) the movies didn’t have time to do. Morality plays that make you question your values and realign your viewpoints in the face of a much-changed world are in vogue; just look at The Walking Dead.

To its detriment, THE PURGE doesn’t embrace this as fully as it should. Instead, it seems like much more screen time is given to the senseless violence and quick thrills. While these are absolutely necessary to properly tell the story, it’s the balance that feels off, holding the show back from being as good as it could be.

That being said, it is still enjoyable popcorn television. It does touch on some of the things that should be explored further, and hopefully if it gets multiple seasons, they will be. It doesn’t feel too limited by the constraints of basic cable, which generally don’t allow shows to get too gory or intense (AMC and FX historically taking a lot more liberties than this network, USA). It finds a way to skirt that line, keeping it relatively tame while not feeling like it is.

If you like the movies, you’ll probably like the television show. If you don’t like the movies, I’m guessing you should stay away. But if you haven’t seen them, check this out and make up your own mind. Is it worth getting through the brutality to get to the scenes where the characters really dig in? I think it probably is, especially if this world is allowed plenty of time to develop, and you may agree.

THE PURGE premiered last week and airs Tuesdays at 10ET on USA.

Star Trek: Discovery - Is It Worthy?

Article first published as 'Star Trek: Discovery' - Is It Worthy? on Blogcritics.

I have been a Star Trek fan almost as long as I can remember. When I was very young, I asked my dad to pick up Star Wars for me from the library. He brought me Star Trek: The Motion Picture instead, and I was hooked.

This past fall and winter brought the first season of the latest Star Trek television series, Star Trek: Discovery. Disco, as fans are already calling it, is set in the prime universe (a.k.a. where all Star Trek has taken place except the most recent three films). It takes place ten years before the original series, and about two years after the first pilot, “The Cage.” Now, with the fifteen-episode first season complete, it seems an opportune time to ask, is this the triumphant return of Star Trek on the small screen?

The following contains major spoilers from throughout the first season, including the finale.

Idealism and Morality

The most obvious way Disco matches up to its predecessors is keeping the spirit of Starfleet and the United Federation of Planets, the military and political organization portrayed in the franchise, alive. Despite the darkness of war that pervades this run, our central crew is committed to the right ideals. While Captain Lorca (Jason Isaacs) seemed to stray early on; the revelation that he was Mirror Universe Lorca the whole time made his actions make sense. In the end, even when Earth itself was threatened, and with a wavering Admiral Cornwall (Jayne Brook) and Ambassador Sarek (James Frain) considering genocide, the crew of the Disco demanded better.

Besides the obvious saving of the Klingon home world, the best example of these values comes in the penultimate episode, when Ash Tyler (Shazard Latif), exposed as being a surgically-altered Voq, feels ashamed and alone. Cadet Tilly (Mary Wiseman) sits at his empty lunch table with him and others follow suit. Also, the way the tardigrade is freed without consequence when its pain is realized is excellent. This proves that the Starfleet attitude we know is alive and well in the new series.

Diversity in the Production

This trend of inclusion and acceptance continues behind-the-scenes, as well. Obviously, the cast is quite diverse, probably the most ever for Star Trek. Though the series has always had a history of showing different peoples working side-by-side in common cause. Disco boasts the first African-American female lead for Star Trek in Michael Burnham (Sonequa Martin-Green). Her captain in the first two episodes, Georgiou, is played by Michelle Yeoh. And this is backed up in the production, which also has a wider range of people than previously working in almost any television show. Just look at the credits, and you’ll see what I mean.

There has been some backlash to the casting online, but to borrow from the Vulcans, there doesn’t seem to be any logical argument against it. If you think Star Trek should just be white men, you’re missing the message of what the show is and has always been. Even looking back to the 1960s episodes, Star Trek was about diversity. In this regard, it pushed the boundaries of what they could get away with on network television, showing non-white-males in positions of power. Star Trek boasts the first interracial and first homosexual kisses on broadcast network television, and had African-American and female captains leading spin-offs in the 1990s. The haters can’t possibly be real Star Trek fans.

Where It Fits

Back to the story itself, Discovery tells a missing part of Star Trek history and does it without majorly disrupting continuity. The Klingon-Federation War was a bad one, as has been referenced, so it’s understandable why the first season isn’t as bright and cheery as past entries. It was also set in more dangerous times than we see in most series. After all, Captain Pike wasn’t all that upbeat in “The Cage” following a tragedy. This tone shift makes sense.

We get a deeper look at the Klingon Empire and why they came into conflict with the Federation, which had little to do with the U.S.S. starships themselves. Yes, there are more aliens serving on Disco than one might assume were in Starfleet at that point from past entries. But that can be traced more to budgetary limitations of the past than what was supposed to be. And characters like Harry Mudd (Rainn Wilson taking over the role originated in the 1960s by Roger C. Carmel), Sarek, and Amanda Grayson (Mia Kirshner) are shown earlier in their time line.

Disco is careful to pay homage to the classic while looking modern. The special effects and sets are thoroughly of today, as they should be to avoid looking dated. But tricorders and phasers and transporters are close enough to what’s been shown before to satisfy. The uniforms are more Enterprise than TOS, but it looks like the finale showed us background glimpses of the classic look, which I expect Pike and crew will be wearing next season.

Continuity

The only major complaint I have here is the delta emblems everyone on the Disco, the U.S.S. Shenzou, and the admiralty all seem to be sporting. In classic Trek, only the Enterprise crew wore this particular symbol, with other ships and stations having different icons. However, it’s possible that everyone originally wore the deltas, briefly switched to individualized badges ten years after this, then switched back later, as shown in the spin-offs and films. Given how Disco seems to later fix things that look to be wrong, I’m willing to give them the benefit of the doubt here.

There are also countless Easter eggs for the eagle-eyed, from Tribbles to Centaurian slugs. These are great for the fans. Georgiou talking of “bread and circuses” might feel slightly odd, but it’s appreciated. Even Clint Howard’s weird cameo as an Orion was great. (Howard previously guest starred in TOS, DS9, and Enterprise). These little nuggets are perfect and appreciated.

Changes

There are some notable changes to the way Discovery is presented as opposed to other Star Trek series. The most important is that we finally get a serial, complex story. This isn’t the first time Star Trek has done this; Deep Space 9, and to a certain extent, Enterprise, pursued long-running arcs, as well. But Disco is the first show to fully realize this superior method of story-telling, with only one of the fifteen hours seeming mostly stand-alone. This change allows for better character development and growth. For instance, Commander Saru (Doug Jones) goes through quite an arc, from disapproving coward to wise captain. This would not have been possible, certainly not in a single season, in the past.

Some big swings Disco takes, like the spore drive, seem ridiculous to exist without mention down the road. But because of how Disco fixes things, as mentioned above, I’m willing to give it the benefit of the doubt for now that it will make sense later. Spock not mentioning a sister, similarly, I can overlook because Spock is very private. Besides, she’s not the first surprise sibling he’s sprung on us.
Additionally, the captain is not the lead, and that is welcome. We finally get a different perspective on the starship, with a show mostly told from below-decks. Both Tilly, a lowly cadet, and Burnham, not even a commissioned officer for most of the season, give us fresh insight that is more than welcome.

Weaknesses

For much of the year, I thought the biggest weakness was going to be how the show handled the Voq / Ash Tyler twist. It was all over the Internet long before the story was ready to reveal it. However, in retrospect, I wonder if that wasn’t a genius distraction to keep the real twist, Lorca being from the Mirror Universe, completely off the radar. If so, brilliantly done.

Disco is not without its share of missteps, though, and a lot have to do with production decisions. For instance, almost every episode is right around forty-five minutes, the length of a regular broadcast installment. Being on a streaming service, it shouldn’t try to squeeze into such a narrow box. The result is plots that sometimes feel wrapped up too quickly or missed opportunities between characters. Did the way the handling of the bomb in the season finale make total sense? No, and another minute of dialogue could have fixed that. But I feel like these aren’t too distracting, and the show overall remains strong.

Of course, the worst thing about Disco is that it’s exclusively on the way-overpriced CBS All Access service. But that can be blamed on CBS bullying the fans, not a Star Trek misstep.

Conclusion

Is Discovery the Star Trek we deserve? I think it’s a little early to tell. A show like this takes time to prove whether its journey is worth it, and that’s a good thing. This type of storytelling is more ambitious, and when it succeeds, it’s aces. When it fails, it’s frustrating as hell. I do think the signs so far are that it’s a very good show. As long as it doesn’t screw anything huge up in the mythology, it’ll go far.

Some will argue that The Orville, a new show on FOX, is the Star Trek heir apparent. But despite sharing some strong DNA with The Next Generation, the Seth MacFarlane-led dramedy doesn’t quite have the same traditional Star Trek spirit that Discovery does. For this reason, as much as I like The Orville, I disagree entirely with this assessment.

Whether you’re a Trekkie or not, I recommend giving Discovery a chance. It’s a pretty solid show by just about any measure. I hope it lives long and prospers (preferably after moving to CBS-owned Showtime). It certainly had an interesting freshman year, and the cliffhanger of seeing the Enterprise promises more goodness to come.

Catch Star Trek: Discovery‘s full first season through CBS All Access.

THE MAN FROM EARTH Comes Home

Article first published as Blu-ray Review: 'The Man From Earth: Special Edition' on Blogcritics.

Ten years ago, The Man From Earth was released to the world. Not in theatres; the low-budget, indie film went straight to DVD. But with an excellent cast and cred for the writer, the movie went on to critical acclaim. It scored nominations, awards, and topped the list of Best Films in its genre. It was also, unfortunately, heavily pirated. Now, with an impending sequel, the original gets a remastered Special Edition release.

The Story

The story is a great thought experiment. Professor John Oldman (David Lee Smith, CSI: Miami) is packing up to leave town unexpectedly. A group of his colleagues insist on having a going-away party. When he slips out, they follow him and demand an explanation for his attempted disappearance. John tells them he’s actually a 14,000-year-old caveman who moves along every ten years before people notice that he doesn’t age. Of course, no one believes him. But the more they try to poke holes in his story, while he can’t prove what he’s saying is true, they fail to disprove it, either.

The Man From Earth plays very much like a play. Almost all the action is on one set, taking place in a single day. The ensemble by and large all stay on camera for the duration, making it a dialogue-heavy conversation piece. There isn’t any action, per se, just an intense examination of the claim and the ramifications of such a thing, exploring both the practical and the historical. Given that the characters are college professors, the conversation is high-brow and intelligent, covering a wide variety of angles.

Sci-Fi Cred

This is about what one might expect from writer Jerome Bixby, who literally finished this story on his death bed. Jerome is best known for “It’s a Good Life,” a short story that was turned into a seminal episode of The Twilight Zone, and for writing multiple episodes of the original 1960s Star Trek series, most notably “Mirror, Mirror.” (Another Star Trek episode he wrote, “Requiem for Methuselah,” has parallels to this tale.)

The ensemble cast also has plenty of Star Trek cred in it. Among them are John Billingsley (a lead in Star Trek: Enterprise), Tony Todd (guest star in Star Trek: The Next Generation, Star Trek: Deep Space 9, and Star Trek: Voyager), and Richard Riehle (guest star in Star Trek: The Next Generation, Star Trek: Voyager, and Star Trek: Enterprise). Rounding out the cast are Ellen Crawford (ER), Annika Peterson (Tanner Hall), Alexis Thorpe (Days of Our Lives), and William Katt (Carrie). While not a highly recognizable troupe, these are all working actors who do a good job.

Ten Years Later

The Man From Earth holds up very well as a story. The plot is engrossing, the actors are natural, and there are enough surprises to make it worth it to pay attention. While it doesn’t answer every question that could be posed, it covers a lot of ground, and Bixby did a great job trying to anticipate what viewers would ask. I’m glad it’s getting a re-release to bring more attention to it.

But despite the expense spent on upgrading the film to HD (which it was not filmed in), I’m not sure the job was good enough to justify it. Sure, the original quality is soft and a bit blurry, but the new version is harsh and grainy. Watching the side-by-side comparison in the Blu-ray special features, I personally appreciated the original better. I’m not saying The Man From Earth couldn’t be made to look higher-quality, but I don’t think this release does it.

Extras

There are a wealth of bonus features on the Blu-ray. We get trailers for both the original movie and the upcoming sequel. There are two audio commentaries to choose from. There’s a very entertaining, very short film called “Contagion.” A few featurettes are interesting.

I am loathe to complain about a behind-the-scenes feature, as most are too short for my taste, but the one here is actually too long. Perhaps it would be better split into chunks, as it runs roughly the same length as the film. But I’m not sure that would help much, as there are a lot of unnecessary conversation in it. It’s cool to hear most of the cast, Bixby’s son, a producer, and director Richard Schenkman talk about the unique filming process and the piracy issues. However, there’s repetition and tangents that make it drag on. So for once, I have to say this one could use some editing down.

Conclusion

This is a great film, and I’m very glad to get to see it. It feels indie and low-budget, but that might be a plus for this particular story. The extras, despite my minor complaint that the main one could use some editing down, are plenty and mostly enjoyable. I recommend Jerome Bixby’s The Man From Earth, available now.

Discover new STAR TREK

Article first published as TV Review: STAR TREK: DISCOVERY on Seat42F.

SPOILER ALERT: Towards the end of this review, I do talk about the events of the second episode, available only on CBS All Access, where the rest of the series will be released.

I’ve been a Star Trek fan since I was a child. I asked my dad to pick up Star Wars at the library for me, and he brought me Star Trek: The Motion Picture instead. Widely regarded as a weaker film for the franchise, it was still plenty enough to get me hooked, and I devoured most of the episodes and movies made, usually many times over. Today, I co-host the re-watch podcast It’s All Been Trekked Before and still eagerly look forward to any new material from the title. Hence, I was super psyched for last night’s premiere of STAR TREK: DISCOVERY. Thankfully, it lived up to the hype.

STAR TREK: DISCOVERY stars Sonequa Martin-Green (The Walking Dead) as Commander Michael Burnham, first officer on the U.S.S. Shenzhou. Raised by Sarek of Vulcan (James Frain, Orphan Black) after her family was killed in a Klingon attack, Burnham returns to humankind under the command of Captain Philippa Georgiou (Michelle Yeoh, Crouching Tiger, Hidden Dragon), who helps her find her humanity and emotion. When the Shenzhou runs into a new sect of Klingons trying to unite the 24 houses of the empire, emotional and physical battles erupt.

This spin-off is set in the same familiar universe of most Star Trek (aside from the most recent films, which take place in an alternate timeline), and that is apparent. The ideals and diversity and mission feel the same. Uniforms and ship design and aliens match up with what we’ve seen before. The crew is heroic and dedicated.

What’s different is the complexity. From the stunning designs to new special effects, STAR TREK: DISCOVERY looks cinematic and larger-scale than any other Star Trek television show, and all of the older movies, too. This matches the character development, which is much more central, driving the story. The tale itself is serial, and the pacing a lot slower than any previous part of the franchise. So this is the grown-up, modern, better version of the universe, with clear influence from co-creator Bryan Fuller (Hannibal), who is sadly no longer with the show.

Lest you think that makes it a stark departure from traditional Star Trel, I would argue that it isn’t. Serial storytelling was explored in Star Trek: Deep Space 9, my favorite of the spin-offs. (It’s too early to rank this one.) Voyager and Enterprise, which came after DS9, were less so, but did retain some of the ongoing elements. The more episodes that are made, the more we got into the makeup of the species and characters. And Burnham is sort of echoing Commander Sisko from Deep Space 9 with her tragic backstory and the battle we witness in the first two installments. So STAR TREK: DISCOVERY builds upon what’s come before without going too far off the rails.

That being said, there are some mistakes or stretches in the continuity. For instance, the delta insignia worn by all Starfleet officers is not appropriate to the time, as in the Original Series (set ten years later than the newest incarnation), each starship had a different logo. The uniforms and bridge layout pull from Enterprise more than the Original, even though STAR TREK: DISCOVERY is a lot closer in time to the Original (though it is said that the Shenzou is an older ship). It’s possible, but unlikely, that Burnham and her history with the Klingons wouldn’t have ever been mentioned by Spock, even though she was apparently raised by Spock’s parents when she wasn’t much older than he was. And the Klingons feel pretty different than those in the original, not just in look, but in culture, too.

Some of this could be explained away, and I hope it is. Under the leadership of T’Kuvma (Chris Obi, American Gods) and Voq (actor not revealed, despite getting a character poster), the Klingons are likely to undergo a dramatic shift as a species. If STAR TREK: DISCOVERY is partially about how the Klingons become the Klingons we know, that would be neat. And maybe the Spock stuff will be explored, too. Given how well made this series is, I am willing to give them the benefit of the doubt for now.

Besides the Klingons, STAR TREK: DISCOVERY has a lot of other cool alien species. The most prominent non-human is Lt. Saru (Doug Jones, Hellboy), the Kelpien science officer of the Shenzhou. He is biologically prey, which means he isn’t as bold as some other crew members. But in Jones’ hands, he’s also a very interesting personality who I hope will continue to appear.

So here’s where we get spoiler-y. The first episode, which aired on CBS, is only half of the original pilot, ending in a massive cliffhanger. Which is smart if they want to force Star Trek fans to purchase CBS All Access, the network’s way-overpriced streaming service where the rest of the episodes will be released. The second half of the pilot was made available last night, too, and was quite shocking, ending with the deaths of both T’Kuvma and Captain Georgiou, and the destruction of the Shenzou.

This changes the direction of the show entirely, which makes since, given that Yeoh is listed as a ‘special guest star’ and we haven’t even met some of the show’s leads, like Captain Lorca (Jason Isaacs, the Harry Potter films) and Lt. Stamets (Anthony Rapp, Rent). However, what that means is that these two hours are basically Sisko at the Battle of Wolf 359, a small part of the DS9 pilot, elongated and enriched. Burnham, stripped of her rank and sentenced to life in prison, has a very challenging hero’s journey ahead of her.

Burnham is a truly fascinating individual. She is the reverse Spock, trying to become more human and less Vulcan. Clearly, seven years on the Shenzou have worked wonders, as Burnham’s actions in the pilot are extremely emotional, including killing someone she really should have captured out of a sense of revenge. She has now heavily contributed to starting a war, and that will surely weigh heavily on her. Hopefully, we have flashbacks with Georgiou to show her evolution pre-series, the way we see Burnham as a child with Sarek in the initial offerings.

Despite my complaints about the price of CBS All Access, which I say again, is absolutely ridiculous for a single network and not worth it, I will pay it because they’re holding me hostage with my beloved Star Trek. It makes me hate the network more, but I love Star Trek too much not to subscribe. And STAR TREK: DISCOVERY seems to be the fulfillment of the promise Star Trek always held but often didn’t quite live up to. Until now. So how can I wait a year for the home release, which will likely be cheaper than paying for All Access? Ugh.

STAR TREK: DISCOVERY releases Sundays at 8:30 ET on CBS All Access.

THE ORVILLE Soars

Article first published as TV Review: THE ORVILLE on Seat42F.

There have been rumors of a Galaxy Quest television show for years. I’d love to see that. But for now, the closest we’re going to get is THE ORVILLE, a new sci-fi dramedy coming to FOX. Though not exactly the same sense of humor as the beloved Galaxy Quest movie, THE ORVILLE does take the adventure and wonder of Star Trek, mix it with Seth MacFarlane’s trademark brand of humor, and keep it grounded and dramatic enough to actually build a cohesive story with characters you can invest in. It is no small feat to get such a thing right.

As THE ORVILLE begins, as you likely have already heard, Ed Mercer (series creator Seth MacFarlane, Family Guy) has just been given his first command: the Orville. It’s not top-of-the-line or anything too fancy, but it’s a nice little sleek exploratory starship that will leave Earth and explore the galaxy.

Ed gets to choose one crewman, his best friend Gordon Malloy (Scott Grimes, American Dad!), but most of the compliment is already set. And the last addition, which he has no control over nor prior knowledge of, is his ex-wife, Kelly Grayson (Adrianne Palicki, Agents of S.H.I.E.L.D.), who will serve as his XO. Kelly cheated on him, and Ed is predictably not eager to have her back.

That in of itself is a humorous concept, but thankfully THE ORVILLE doesn’t go too far into sitcom territory with it. There is tension between the couple, yes, and that drives their interaction. Equal side-by-side seats on the bridge of the ship probably don’t help Ed feel any more in control. But their chemistry, while not entirely new, does seem fresh in the performances, and they seem to be a pair audiences will root to get back together. They could bicker just as effectively in a relationship, and there are clearly still feelings between them. Palicki and MacFarlane are great together.

The diverse crew include a robot, Isaac (Mark Jackson), a member of a single-gender species, Bortus (Peter Macon, Shameless), and a young woman named Alara who is out to prove herself (Halston Sage, Neighbors). It is a solid mix of varied personalities, with several species represented, and while many of the actors are not well-known, they all handle themselves well. The show doesn’t hesitate to explore the differences, and delights in the alien characteristics that humans will not understand, something sometimes minimized in other science-fiction or reserved for ‘special’ episodes.

Lest you worry about cred, Penny Johnson Jerald (Star Trek: Deep Space 9, 24) is the wise Dr. Claire Finn, chief medical officer, and producers and directors also carry over from Star Trek. Toss in some stellar guest stars like Jeffrey Tambor and Victor Garber, and this show has unexpected gravitas. It is far more than just a dumb comedy, and while it could not exist in the Star Trek universe, it also wouldn’t fit in the realm of Family Guy or American Dad! either. THE ORVILLE is its own brand.

The humor comes in the authentic moments. Crewmen talk to one another the way people do now, not as some high-minded advanced society, but as relatable folks. THE ORVILLE stops short of going full-out MacFarlane, and instead drapes the jokes over a serious plot with actual drama and danger. The humor bolsters, rather than distracts, and I would not classify this anywhere near a strict comedy. And Gordon’s introduction is one of the funniest bits.

THE ORVILLE is imaginative, clever, and darn fun to watch. I went straight into the second episode, and will definitely be tuning in weekly. This show, at least in the first two hours, deftly sticks a complicated landing.

THE ORVILLE premieres September 10^th on FOX.

Back to TV’s Roots

Article first published as Back to TV's Roots on Blogcritics.

Lately, television networks have flocked to remakes and reboots as much as the cinema has. Sometimes, it works well; other times, it’s a disaster. What could or should be remade, and how do those projects that deserve to see the light of day proceed?

Crime procedurals are typically easy to redo. There are a million CSIs and NCISs on the air, so it’s clear the genre is still popular, as puzzling as that is to many critics, myself included, who quickly grow bored with formula.

Hawaii Five-0 is entertaining because it’s set in a beautiful locale and has humorous dialogue mixed with big action. Ironside is a flimsy concept whose only real departure from the norm is that the main character is in a wheelchair, not exactly a novel twist. One of these is popular and has run for years, the other is likely to get canceled in the very near future.

NBC wants to bring back Murder, She Wrote, this time starring Octavia Spencer in the role made famous by Angela Lansbury. One one hand, Spencer is a fantastic actress (though so is Blair Underwood on Ironside) and deserves her own TV series. On the other, Lansbury is iconic in the role, still stuck in our minds many years after her cancellation. As good as Spencer is, overcoming the shadow of the great lady that came before her seems a daunting task, and thus I am not optimistic about the show lasting.

Angsty dramas are a mixed bag. Melrose Place showed us how not to do it, and 90210 lasted a few years not because it tapped in to the nostalgia of the previous generation who watched the original, but because it found a new (somewhat limited) audience and didn’t rely too heavily on history. Yet, Dallas has been my favorite in this category, continuing a familiar story, mixing beloved characters with new blood in a way that gives the series new life. The only question is if it can survive without star Larry Hagman, which remains a lingering mystery.

Sci-fi also can work, but rather than continuing, like Dallas does for its drama, the series must reinvent itself. Star Trek: The Next Generation and the other spin-offs built upon the original Star Trek, but also added a lot of new elements, coming into their own. V was interesting, and had it had stronger writing, it could have lasted longer than two years. Battlestar Galactica was fantastic, re-imagining the old version completely, and surpassing its origins.

The real reason I sat down to write this column today, though, is because of the news that the History Channel is redoing Roots. In my opinion, this is a horrible idea.

Roots was an extremely popular miniseries, which won a ton of awards. History, which has only recently entered the scripted fare market, has gotten good attention with its efforts so far. From the standpoint of its brand, I could see why they would pick this property as a contender to continue to build its slate.

However, have you watched the original Roots lately? It still holds up extremely well. And being as widely viewed as it was, and continues to be in high schools across America, it is still relevant in the public conscious. Most of the people tuning in to watch the new version will remember the old, and comparisons will be inevitable. Considering the very high quality standard the original set, this seems like playing with fire.

It’s a big risk, and one I would not recommend making, as much as I think it’s great when television takes risks. It’s like if someone decided to remake the Back to the Future films, or even the Harry Potter movies, in the next few years. It just isn’t a smart idea. The payoff, should it be accomplished successfully, could be pretty good, though it’s unlikely to reach the heights of the earlier broadcast, which aired at a time of much fewer channels and competition. It seems doomed to always be pegged as the lesser edition. And that’s the best case scenario. If it sucks, it could set History back considerably.

So I have a question for you, gentle readers. Actually two. What could History do to make Roots a win in your book, and what shows would you like to see remade?

My answer for the first is to cast LeVar Burton as the older version of Kunta Kinte, which would only be a smart move for Burton is the new project is awesome, but him signing on would automatically give it gravitas and attention. For the second, besides another Star Trek series, I’d like to see a grittier, more realistic, dramatic version of Gilligan’s Island. How about you? Weigh in in the comments below.

BREAKING BAD Pure "Money"

Article first published as BREAKING BAD Pure "Money" on TheTVKing.

AMC's Breaking Bad kicks off its final eight hours with "Blood Money." After a glimpse at a bleak future where Walter White's (Bryan Cranston) secret is out and his home is abandoned and defiled, the action picks up right where the previous episode (which aired last summer) left off: Hank (Dean Norris) finally suspects Walt of being Heisenberg, Jesse (Aaron Paul) wrestles with guilt, and Walt lies and threatens anew.

I feel like the only way for Walt's story to end is in death. Walt has become an extremely bad dude, as evidenced with many of his words and deeds in "Blood Money." This is a kingpin who is no longer trustworthy for anyone, and he must be brought down. The question is, who will end Walter White's life?

My money is on Walter White. We see him with an M-16 and poison in the opening of the installment. With his cancer back, something he is neglecting to tell anyone, Walt doesn't have long to live, anyway. Perhaps he wants to go out on his own terms, either peacefully by consumption of tainted food or liquid, or violently in a showdown.

The argument against this theory is that Walt is a survivor. He wants people to know who he is, and he isn't content to allow himself to be caught. These feelings could waver in the face of his mortality, but Walt's conversation with Hank, in which he brags to Hank that no jury will send a dying man to prison, shows that Walt is not ready to give up yet. Backed into a corner, this could change.

Or Hank might get Walt. Hank is loathe to publicly accuse and investigate family until he's sure Walt is Heisenberg, staying home from work and checking on things off-book. However, when Walt and Hank have their confrontation, we see how angry Hank is, and Hank punches Walt, making it clear he won't help Walt get away with anything. Hank will work vehemently in these final episodes to bring Walt down.

I hope Jesse doesn't have to hurt Walt. Jesse is having enough trouble dealing with his own behavior, handing out cash he sees as "Blood Money," rather than keeping his earnings from making meth. Jesse is reckless, intent on punishing himself for what he thinks he deserves if no one else will. Yet, we know Jesse is a good guy at heart and we want to see him get better, not descend further. Having to kill Walt could permanently destroy Jesse.

A nice surprise might be if Skyler (Anna Gunn) has to pull the trigger. She's back in Walt's life, sharing his bed, and running the car wash business together. However, she is not a pushover, and would not hesitate to protect her family, and would be able to sleep at night afterwards. She will be furious when she learns Walt is hiding his cancer from her again. Perhaps it's time for her to show ever more backbone and be the ultimate hero.

One thing is certain, Lydia (Laura Fraser) doesn't have the guts to do it. She may be desperate, seeking Walt's help at work, even as Walt tells her to stay away, but that won't be enough to bring down Breaking Bad's protagonist. She is weak and scared and that counts against her.

"Blood Money," besides giving us much to ponder, is a wonderful hour, finely crafted. From Marie's (Betsy Brandt) joking comment that Walt is the devil, to Walt's two 'hello's to his neighbor, to Badger (Matt Jones) and Skinny Pete's (Charles Baker) Star Trek conversation, there are layers and metaphors and memorable moments. There are also beautiful, dramatic, character-driven scenes between Hank and Walt and between Walt and Jesse. This indicates the show will maintain its quality til the end, and that is definitely something to look forward to.

Breaking Bad airs Sundays at 9 p.m. ET on AMC.

It Has Likely Ended for The Neighbors

Article first published as It Has Likely Ended for The Neighbors on TheTVKing.

The freshman season finale of ABC's wacky sitcom The Neighbors aired this week. Entitled "It Has Begun...," the episode takes the surprising tack of setting up a cliffhanger and plot for next season. Surprising, because the ratings have never been stellar, and the chances for renewal aren't good. Though, TVLine.com has upgraded The Neighbors from "A long shot" to "Could go either way," so I guess it has a chance.

The Neighbors seems destined to become a forgotten footnote in the annals of television history. It has an interesting concept, a middle-class New Jersey family moves into a suburb populated by aliens, and after becoming friends, help the extra-terrestrials adapt to our planet. But it's utter oddness, including the childlike behavior of the adults in the situation, the way all of the aliens always dress the same, and that they are named after sports stars, is enough to turn many off.

I actually find the series charming, in a way. All of the performers in the show completely sell the concept. It may not be an example of the highest, smartest comedy writing, but it's a feel-good series that feels authentic for what it is. The Weaver family, the humans at the center, have bonded with the Bird-Kersees, the main aliens, and it's become a tale of two different groups finding commonality and friendship against all odds.

"It Has Begun..." does what The Neighbors so often do: it sends Marty (Lenny Venito) and Debbie (Jami Gertz) Weaver off to do a thing, this time visit Atlantic City, with Larry Bird (Simon Templeman) and his wife, Jackie Joyner-Kersee (Toks Olagundoye) in toe. Marty finds out Larry can see through cards and beat the casino at its own games, so they have fun. Jackie laments that she never got a traditional wedding, so Debbie helps her throw an impromptu one.

There are plenty of funny moments, such as when Jackie thinks the Maid of Honor should be dressed as an actual maid, or when Larry asks Marty "How poor are you?" after Marty gets upset at losing $5,000. But it's really a tale of four friends, at its heart, who help each other with life's experiences, and learn from one another.

This season finale decides to get a little meta in its humor, which seems a natural adaptation, given the silly tone. Larry and Jackie acknowledge the formula the show works on out loud at the beginning, Debbie expresses the opinion that they have the kinks worked out on how they should interact, and all four express the hope to spend more seasons, er, years together. If only more people would watch, they just might have the chance...

But besides the kookiness, which is entertaining, "It Has Begun..." lends a level of heart to the proceedings. The adults have it, when they bond and express their friendship. Reggie (Tim Jo) has it when, faced with leaving Earth behind, he chooses Amber (Clara Mamet) over his girlfriend, and they finally kiss. And Dick (Ian Patrick) shows a little when questioning where his loyalties lie, as do Max (Max Charles) and Abby (Isabella Cramp) in hoping their aliens friends will stay.

That's why I like The Neighbors. Not necessarily because of the aliens, but because of the two families. The rest of the neighborhood has taken a back seat to the two main clans, and should everyone else have gone home in "It Has Begun...," I would not have been disappointed. In fact, it might have really worked, as Larry and Jackie would need to depend on the Weavers even more.

I think the reason the show doesn't do that is because the characters are currently isolated in their gated community. It's hard enough not to be found out, as careless as they are, but for it to be believable that Earthlings move into the area and don't notice the alien behavior is just stretching the show too far, further than it has already stretched. Also, for the aliens to be publicly exposed would send the show in a darker direction, and take away the specialness it currently has.

Not that The Neighbors can't handle deep emotion. The bit this week where the Commander arrives, the aliens gather to leave, Reggie chooses Amber, and the adults flee the wedding to rush home is moving and powerful. It may be the single best sequence the show has done.

But it thrives on the comedy. The ending cap where the Commander (played by Star Trek's George Takei) banters with his subordinate (played by Star Wars' Mark Hamill), and they rip on the actors' respective franchises, is very funny and most welcome. And learning that Jackie's alien name is Debbie may not make sense, but elicits a chuckle.

The only real complaint I have about "It Has Begun" is the plot hole of what the Commander is up to. He supposedly tries to reach out to Larry through toast messages, then tells Dick not to tell Larry he's coming, then is annoyed when he shows up and has to wait for Larry. Does he want Larry to know he's coming or not? And why does he bring an army if he's not going to force Larry to leave? I feel like an artificial layer of suspense is added on top of the tale they are trying to tell, and it ends up confusing things.

I will be disappointed if we don't find out what the Commander is trying to warn Larry of. This opens the door to an interesting new direction in a possible second season. For that reason, and because I want to see the actors playing aliens continue their brilliant work, I hope The Neighbors gets renewed.

Redefining Cancellation

Article first published as Redefining Cancellation on Blogcritics.


This week, Rob Thomas and Kristen Bell posted a call on Kickstarter soliciting donations to produce a Veronica Mars film. Within, 12 hours, they'd raised the minimum $2,000,000 needed for the project, breaking all fundraising records for the site. As I'm writing this article, the total now stands at $3,572,678, and the more they raise, the bigger scale film they can make.

Many are calling this the act that re-defines how cancelled shows can be resurrected. Veronica Mars ran for three seasons on the WB and CW, and was beloved by critics and fans. The new project came together because the studio, which had no intention of making the film itself, agreed to let the show's creator and star handle things themselves. Can other series in a similar situation, like Gilmore Girls, Party Down, Bored to Death, and Jericho follow the same path?

Well, there are a variety of obstacles to such projects. Sometimes, it may too expensive to revive with fan donations, like Dollhouse. Other times, the cast may be so busy that bringing them together would be awfully difficult, like Firefly or Freaks and Geeks.

Some have theorized that fans of other cancelled shows who don't particularly care for Veronica Mars may have donated money just because they want this to succeed. If so, their own beloved favorite might be next. While there could be some truth to this, I can't imagine most of those types would have donated a lot of money, without any guarantee their cash would help towards their own goals, so I assume the majority of the backing (including my own) came from people who actually really enjoyed and miss the series.

Also, I do think some of the backers of the Veronica Mars film might be upset if the movie makes a big profit. After all, Warner Brothers still gets to keep the money the movie makes, and Kickstarter investors are not paid back. Is it fair for a studio to force the fans to pay for such things, then keeping the profit? Shouldn't they offer some sort of return on the fans' investment if the end result a profit? Or maybe, if Warner Brothers wants to keep the fans happy, they should go ahead and greenlight a sequel, giving Veronica Mars extended life, and letting us know we've been heard.

Of course, there are some benefits to a Kickstarter campaign. Not only do fans get to take ownership and bragging rights, but the swag offered is also pretty good. For a donation of only $100, fans receive a movie poster, t-shirt, Blu-ray copy of the film, and a downloadable .pdf of the script. They will also receive a finished copy of the movie when it hits theaters. That's quite a bit of stuff thrown in for your support. Bigger donors will even get to name characters and appear on screen. These sorts of premiums and chances to be involved help fans feel even more connected and likely to support the project, though they are sort of unfairly balanced towards those who can afford to give big time.

But even should Kickstarter model not work long-term, there are other ways to resurrect a beloved series from cancellation hell. Sometimes network powers that be can be persuaded to change their minds, like AMC did for The Killing (with a little financial help from another source). Sometimes another producer or netword will come along to save the day, like Netflix did for Arrested Development or Comedy Central for Futurama. Occasionally, DVD sales are strong enough to justify another chance, like FOX did with Family Guy. Comic books can extend the show's life, like Buffy the Vampire Slayer.

Then there are the prequels and sequels. 90210 got five more seasons with a new cast on the CW. Dallas is back on TNT, mixing old and new characters. The Carrie Diaries seeks to tell the beginning of the story for Sex and the City, eventually bringing in many familiar faces.

The point is, never has there been a time when cancelled doesn't necessarily mean cancelled. Sure, The River won't come back in any way, shape, or form. But that doesn't mean that some of those that deserve it aren't finding ways to continue.

This isn't entirely a new phenomenon. The Brady Bunch and The Waltons made TV movies long after they went off the air. Star Trek went to the big screen and produced ten films spun off of two shows, not counting the new reboot with recasts.

However, I think the newer model is more encouraging. Veronica Mars may only live for two more short hours, but many of the other examples I've listed have gotten far more screen time, and some even run for years after their resurrection. This brings them to all new fans, as well as the old ones, extending their lives exponentially.

Are we out of new ideas? Of course not. There will always be a fresh series right around the bend. But that doesn't mean there isn't still life left in those that have been put out to pasture, and for some, getting to fulfill untapped potential, playing out as they should, rather than getting an early grave, this a trend to celebrate.

Trek Vs. Wars: A Conflict of Interest?

Article first published as Trek Vs. Wars: A Conflict of Interest? on Blogcritics.

The news came out recently that J.J. Abrams will be directing the next Star Wars film. Given the fact that he is already heading up the Star Trek franchise, the announcement sparked a negative emotional reaction in me. What if this becomes a conflict of interest?

J.J. Abrams is one of the most respected television producers around. Despite recent flops such as Undercovers and Alcatraz, he has a slew of great deeds to his name, including Lost, Alias, Felicity, and Fringe. Revolution has potential, even if it mostly remains untapped.

Thus, as a fan of J.J.'s work, I was excited to see him make the transition into film (as long as he doesn't leave television behind completely, which, so far, he hasn't). I was even more enthusiastic when he took over the Star Trek franchise, having been a big fan of the TV series and movies since childhood. I knew, based on his previous work,  J.J. could bring a level of complexity and excitement to the new reboot, and his casting would be impeccable.

Star Trek 2009 did almost everything I wanted it to. The new actors were almost all perfect matches for the original cast. The story honored everything that had come before it, but also began an entirely new, awesome adventure. While it did favor action a bit over message, the story was still pretty good. And while it is darker than most other Trek offerings, that trend had already become apparent for the franchise before the movie.

However, I do have some concerns now that J.J. has been will also be making the next Star Wars movie. Don't get me wrong; I enjoy the Star Wars movies. But I do think Star Wars is overrated, and I don't hold it up to same level of worship that many fans do. I have always believed that Star Trek has been far superior because of the depth of its stories; in my opinion, Star Wars movies have always been largely melodramatic, action-heavy fluff pieces.

If I have to be honest with myself, some of those complaints can also be made about the most recent Star Trek movie. It lacks the original's larger world-view of a better humanity, trading it off for lots of battles and effects, and even a love story for Spock and Uhura. It does stay pretty faithful to what had happened before in Star Trek, but it updates the whole thing into a modern blockbuster. On the other hand, it does extend the franchise reach to a new audience of potential fans. But, I worry that as it does so, future films might lose sight of what has always made Star Trek special.

The issue is, while Star Trek has always been good at wonderful special effects sequences, the series and movies have always been more about the its commentary on humanity and our society. In Star Trek's futuristic world, we have outgrown the petty squabbles of our present day, and have moved on to become an evolved and resilient race.

The 2009 movie satisfies with great character development, and because of the story it pursues, it doesn't necessarily need to go out of its way to emphasize the franchise's idealistic vision of humanity.  However, I would not like to see that integral part of that original vision diminish in favor of more action, adventure and special effects.

On the other hand, the Star Wars movies have always fit the standard blockbuster framework, so I'm sure that J.J. will do a great job with it. If nothing else, he will definitely put episodes I-III to shame. Of that, I am confident. But with both movie series under his direction, will the vision for the two series converge, making Star Wars and Star Trek feel too similar?

After all, 2009's Star Trek already began to lean towards that Star Wars formula. It was a lot of shoot-'em-up, and it had less complicated, more evil, villains. The pacing was faster than I'm used to from Star Trek, and it lacked much introspection.

I don't want Star Trek and Star Wars to be similar. I admit, I feel a certain superiority when arguing Trek's advanced plot points and messages. Were Star Wars to be that good, assuming J.J. could raise the quality of the new Star Wars to the middle ground that the 2009 Star Trek occupied, balanced between what the masses want and wonderful writing, it removes the advantage Trek has, and gives those smug Wars fans new fodder. If the opposite happens, and Star Trek is dumbed down to the level of Star Wars moving forward, continuing to push it away from its roots, the same thing will happen.

I am concerned that J.J. will, intentionally or not, keep nudging Star Trek from its original vision. Who's to say it won't go further once his time becomes divided between the two, with the worlds merging in his head?

They are both sci-fi adventures full of aliens. Even though one supposedly happened a long time ago in a galaxy far away, to paraphrase, it looks futuristic enough to be confused with our not-too-distant future to the untrained eye. It wouldn't be that hard to make a lot of the same choices when developing the projects, and end up with two very similar film series. I don't think he'll use the same actors or sets, but with the gleaming white new Enterprise reminding me of Star Wars spaceships, there could be a similar color scheme and visual component.

Maybe I'm being too hard on J.J. As I said, I am a fan of his work, and it's not like all of the television series he works on end up the same. He could find ways to differentiate the two, and take them in completely different directions. I am just concerned because of early signs of Star Trek's evolution, and because of his stated preferences, that it might happen in this case.

I also worry that his work on Wars will distract him from Trek. After all, Wars is bound to get more attention. Will that mean he won't give Trek 13 his full efforts, instead focusing on Wars 7? Also, J.J. is reportedly one of those people who favor Wars over Trek, which worries me.

Yes, it is possible to be a fan of both, but most people who are favor one over the other. I hope that J.J. keeps in mind the fundamental differences between both series, and doesn't make them interchangeable. The best way to do that is to deepen the next Star Trek story back to the levels of morality tale it once achieved. This spring, we'll find out if that has happened, as Star Trek Into Darkness is released. Based on what I've seen so far, I'm optimistic.

I guess what this argument boils down to is emotion. Both franchises evoke strong feelings from their fans, and since Star Wars already has the popularity, I want Star Trek to keep the quality superiority. It is a bit petty, to be sure, but I very much hope J.J. takes this into account, keeping in mind what has set the two series apart in the past, and maintaining that divide. Because he is a Wars devotee, I worry he doesn't have the same perspective on Star Trek that trekkies have, and thus won't protect the franchise with the same ferocity a real fan would.

To many, the premise of this entire column will seem ridiculous or trivial. But for those of us who have always kept a candle burning for Star Trek, please J.J., we beg of you: Keep Trek better. Its fate is in your hands.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!