Review of Star Trek: Discovery, Season One

Hannah Dewhurst

In 2017, when the CBS exclusive show Star Trek: Discovery (a.k.a. Discovery) premiered, many fans were skeptical, fearing that it was too much of a departure from previous Star Trek series to be any good. However, as the first season of Discovery progressed, both old fans and new realized how fantastic it was – not only because of the things that stayed the same, but because of the things that it did differently.

Discovery’s plot revolves around Michael Burnham, played by actress Sonequa Martin-Green, an orphaned human who was raised on the planet Vulcan by Sarek and Amanda. For those familiar with Stark Trek, yes, they are the same Sarek and Amanda who parented Spock. This show is set in between Star Trek: Enterprise and The Original Series, occurring approximately ten years before Kirk takes command of the Enterprise. In the first two episodes, Commander Burnham discovers a Klingon Warship in Federation Space and, directly disobeying the orders of her captain, provokes the Klingons, as they are known to be a warmongering species. Her action eventually results in both the beginning of a war and the death of Burnham’s captain, Phillipa Georgiou (Michelle Yeoh). Burnham is sentenced to life in prison for mutiny.

While on the way to the prison colony, Burnham’s ship is met by the USS Discovery, a science vessel under the command of Captain Gabriel Lorca (Jason Isaacs). Onboard the Discovery, Michael finds out that the ship has been experimenting with a new form of space travel through what is called “the mycelial network,” that allows them to get anywhere in the universe in an instant. Despite her life sentence, Burnham is invited by Lorca to become a part of the crew. She accepts the offer, and the series kicks off.

The second half of the season brings even more twists and turns as the crew of the USS Discovery are thrown into a parallel universe. In this mirror universe, humans (known as “Terrans”) are a cruel, xenophobic people, and the crew must adapt to this new world or risk being found out and killed. Because the characters are forced so far out of their comfort zones, the actors are given the opportunity to truly show their prowess. The show’s beautiful design is also given a chance to shine in the second season, as new sets and costumes are introduced. From the gold-armored Terran uniforms to the Imperial Palace, each element is simultaneously foreign and familiar.

In the second half of the season, Michael discovers that her deceased former captain, Phillipa Georgiou, is not only alive in the mirror universe, but is the emperor of the Terran Empire. Though Georigou is initially present only in the first two episodes, she returns in the second half of the season, completely different than before. Mirror Georgiou, a kick-butt, no-nonsense, bad girl, is another fan favorite character who adds life and interest to the story any time she is on screen. And, as if Discovery didn’t already have enough great antagonists, it is revealed that Captain Lorca is secretly a criminal from the mirror universe, who fled to the main universe after killing Mirror Burnham.

One of the best parts of Discovery is just how stunningly beautiful it is. From the design of the ship itself, to the detailed makeup of the aliens, to the beauty of the planets they explore – whether they be real locations or computer-generated – nearly every episode brings something new to marvel at. In particular, the design of the Klingons is astounding. So much care, love, and attention were poured into these characters, which is especially important because Klingons play a massive role throughout the series. There are twenty-four different houses of Klingons, and the members of each of these houses is designed with different physical features and costumes. Three-million dollars was spent creating the Klingon burial ship, the main location where we see Klingons throughout the series. Other sets, such as the USS Discovery itself and the Imperial Palace in the mirror universe are equally incredible. Even more delicate areas of design, such as costumes and makeup, are done beautifully, with details hiding in every centimeter.

Yet for how incredible the design is, the actors and characters manage to top them. One of the best characters in the entire series is Ensign Sylvia Tilly (Mary Wiseman), Michael’s cheerful, outspoken, and innocent roommate. From the moment she is introduced in episode three, Tilly’s naive smiles and nervous giggles capture the audience’s heart and never lets go. Tilly is especially heartwarming when put next to the cold, blunt Michael Burnham. When Ensign Tilly first meets Michael Burnham, she comments, “The only female Michael I’ve ever heard of is Michael Burnham the mutineer. You’re not that Michael, are you?” only to realize that her new roommate is indeed that Michael. Mary Wiseman’s expression perfectly displays just how horrifying this realization is to Tilly.

Along with Wiseman, other outstanding actors include Anthony Rapp, Michelle Yeoh, and Jason Isaacs — who is best known for his role as Lucius Malfoy in the Harry Potter movies — as Captain Lorca. For the role of Lorca, Isaacs won an Empire Award for Best TV Actor. Shazad Latif also delivers an incredible performance as both Lieutenant Ash Tyler – Burnham’s charming love interest – and as (SPOILER!!) Voq, the Klingon “Torchbearer” who has his body reconstructed in order to appear human.

Without a doubt, it is Shazad Latif’s character(s) that form my personal favorite part of Discovery’s first season. When first introduced, Ash Tyler is explained to be a Starfleet officer who has been kept by the Klingons as a prisoner of war. He is rescued by Captain Lorca and Burnham, joins the crew, and soon develops a relationship with Michael. Throughout this, Tyler begins to have flashbacks of his torture while onboard the Klingon ships. Not only are the flashbacks themselves shot and lit in the most terrifying way possible, with shaky cameras, dim lighting, whirling machines, and endless screaming, but Latif’s expressions coming out of them are amazing. There is never a moment when his terror (and he spends a lot of time being terrified) feels forced. However, as the season progresses, Tyler’s flashbacks become more extreme and debilitating, especially while around a Klingon named L’Rell (Mary Chieffo). Following an attempt by the ship’s doctor, Hugh Culber (Wilson Cruz), to explain the odd scar tissue around Tyler’s organs, Tyler lashes out, kills Culber with his bare hands, and walks away to join Burnham on an away mission. When it is finally revealed that Ash Tyler is, in fact, Voq, Latif’s acting sells every bit of this reveal. In an instant, he goes from a kind-hearted lieutenant, struggling to accept the fact that he is not who he believed he was, to a violent, hateful Klingon warrior with a lust for blood. Every time he is on screen, whether it be as Tyler or as Voq, Latif delivers incredibly.

Unfortunately, Discovery is not without its flaws. As previously mentioned, the design of the Klingon ships, costumes, and makeup is phenomenal; however, almost all the scenes with Klingons have their words translated by subtitles at the bottom of the screen. Discovery’s failure to translate alien languages into English for the audience greatly detracts from the enjoyability of these scenes. It is frustrating to be unable to focus on the actors and stunning visuals due to the concentration that must be put on the subtitles. While it is interesting to hear the Klingons speak in their native tongue, the subtitles are far overused throughout the first season.

Sonequa Martin-Green’s range of expressions as Michael Burnham, though they improve throughout the season, leave something to be desired. While her character was raised by Vulcans, a species that greatly suppresses their emotions, Martin-Green expresses so little that it’s genuinely frustrating. The audience has no insight into her thoughts, her process, or her opinions. She just stands there like a blank slate. Even Data, an android devoid of emotions from Star Trek: The Next Generation, was more expressive than Burnham. Thankfully, Martin-Green and Burnham both grow throughout the season and quickly work their way into the audience’s heart.

Star Trek as a franchise is well known for attempting to start discussions about important topics, and Discovery is no exception. In the first episode, the Klingon leader, T’Kuvma (Chris Obi), asserts that the Federation is not, as most believe, a peaceful group that only wants to preserve peace in the galaxy. Instead, he claims, they destroy the cultures of those they assimilate and try to make the rest of the galaxy act human. This poses an interesting question for the viewers: “Are our heroes as good as they seem?” It is not difficult to draw parallels between Starfleet and many modern nations. While attempting to make everyone else conform to their Federation ideals, both often fail to acknowledge their own short comings. While this idea is not explored in detail throughout the season, the writers present a warning to both Starfleet and our own civilization, in the form of the Terran Empire. The Terrans are the epitome of human wickedness, and their evil nature shows what may occur if hatred, racism, and prejudice get out of hand. This frightening look at the dark side of humanity serves as grim warning to people across the world.

While many classic Star Trek series have primarily plot-driven stories, focusing on all the fun new aliens and how the crew will deal with new situations, Discovery, much like Enterprise takes a more character-driven approach to sci-fi. Instead of facing constant external conflict, Discovery builds up enjoyable, relatable characters and allows the audience to see them grow throughout the season. Not one of the crew members is the same by the end as they are in the pilot, and that’s one of the best things about this show. Tilly, though initially uncertain of herself, evolves into a woman who is unafraid to express her opinions and trust her gut. The aloof, emotionless Burnham learns to open up and trust others. Though it deals with many of the same themes as previous Star Treks – war, hatred, prejudice, humanity, etc. – Discovery attempts to bring the same conversations into modern culture. Overall, it is an incredible show, well worth the time for both old and new fans of Star Trek. Though it appears radically different from the Star Trek of the 1960s, Discovery is, instead, a new, interesting, enjoyable translation of a classic Star Trek message.

Elizabeth Vierkant

Into the Void, the first episode of one of Netflix’s newest original series, Chambers, is a slow start to what originally appeared to be a compelling concept. Created by Leah Rachel, a relatively unknown producer, this show boasts several big names such as Uma Thurman—as both an actor and producer—and Scandal’s Tony Goldwyn; because of this, Chambers seemed promising. Unfortunately, Netflix missed the mark on the first episode.

The horror show follows Sasha Yazzie (Sivan Alyra Rose), a seventeen-year-old high school student, as she suffers a heart attack while enjoying a romantic evening with her boyfriend, TJ (Griffin Powell-Arcand). Following this unfortunate event, Sasha receives a heart transplant courtesy of the late Becky LeFevre (Lilliya Scarlett Reid), who died under mysterious circumstances.

Several months after these events, we see Sasha return to school with the help of her friend, Yvonne (Kianna Simone Simpson), though this doesn’t last for long. Becky LeFevre’s father, Ben, played by Tony Goldwyn, visits Sasha’s Uncle Frank’s (Marcus LaVoi) fish shop, and asks that the two come over for dinner. It is here we learn that LeFevre’s parents (Goldwyn and Thurman) wish to grant Sasha a scholarship to attend Becky’s old, prestigious high school, Crystal Valley.

This exposition feels ordinary, slow, and unimportant to the overarching plot of the series. This overload of information makes the plot seem as far from relevancy as possible. From the trailers for this series, it is clear that the series deals with Sasha experiencing visions and committing actions related to Becky’s mysterious passing, likely due to the heart transplant. However, when Chambers plays with this horror concept, it begins to shine through the mundane vibes emanating from the majority of the pilot episode.
Between Sasha’s original meeting with Ben and her dinner at the LeFevre household, she experiences her first vision of Becky lying beside her in bed. Sasha’s heart begins to race, much as it did prior to her heart attack, growing louder and louder as tears fill her eyes. As a viewer, this intense moment of fear resonates. Is Sasha having another heart attack? Is she just afraid? The use of sound effects and Sivan Alyra Rose’s intense acting abilities help sell the scene, yet this amazing moment, only proves how ineffective the rest of the episode’s writing is.

Following Sasha’s choice to attend Crystal Valley High School, she and TJ spend another romantic evening with one another, something that also feels ultimately inconsequential to the overarching plot of Sasha’s visions and actions. When she attends her first day at Crystal Valley, she begins to discover and experience the life of a much richer girl than the one that she grew up as in her lower-income community. The episode ends with Sasha and Yvonne spending time together, followed by a shot of TJ skateboarding down a street, which doesn’t seem to correlate to the plot in any way.

In all fairness, pilot episodes are often messy. There is a lot of exposition to cover, and that can come off as boring and unimportant. Luckily, Into the Void did have a few saving graces. Much like Sasha’s first vision of Becky lying in the bed beside her, the other “visions” and odd occurrences that Sasha experiences as just as powerful. Much of this is thanks to Sivan Alyra Rose’s acting skills. While staying in the LeFevre’s house, Sasha finds a camera hidden within Becky’s room, and the fear radiating off the actress feelsA realistic and (no pun intended) heart-stopping. Sasha has another vision, seeing herself sleeping with a man she has never met. As a smile peels onto her face, Rose’s haunting acting sends chills down the viewer’s spine.

Another standout actress, the well-known Uma Thurman, helped improve the lackluster writing with her heart-wrenching acting abilities. Having just lost her daughter, her character, Nancy LeFevre, spends great amount of time in emotional pain, and shines through in Thurman’s acting. It is felt. The first time we see Nancy, she is crying alone, attempting to pull herself together for company. She attempts a smile, but it fades. This scene seems private and poignant, and Thurman makes a viewer feel as though they are witnessing a private moment. When Nancy hugs Sasha for the first time, she listens to Sasha’s heart and doesn’t let go, agonizing over the death of her daughter. Her feelings aren’t verbalized, yet the audience is able to gauge just exactly how she is thinking and feeling.

Unfortunately, the script doesn’t quite live up to Rose’s and Thurman’s acting abilities. The exposition that took the entirety of Into the Void to set up could have been done so within a span of about twenty minutes, rather than fifty. When the plot is introduced slowly, viewers’ attentions will be lost. If nothing else , the pilot could have intermingled the exposition along with Sasha’s foreboding challenges with Becky’s heart, other than a few visions. Instead, we are left uncertain of what Sasha is going to experience throughout the show, which is crucial to set up in the first episode.

There are a few effective techniques used within the script, but it wasn’t enough to distract from the other issues presented. The dialogue was realistic, and it felt as though the characters were real people living in the real world. Each of the actors helped bring the dialogue to life. It didn’t feel forced or fake, which is crucial if the audience is to relate to the characters on screen. Teenagers in television are often written specifically to seem like teenagers, yet the teens of Chambers feel like people, apart from their age, which allows audiences of all ages to connect with them.

Another appropriately used technique was the repetition of mice. Sasha encounters them several times throughout the episode: twice in her own home and once in the LeFevre’s. Sasha is kind to mice, as we see with her first interaction with one. The second time, that same mouse bites her. The third time, she just happens to find one within the LeFevre’s household. This repetition tells the audience that something important will occur with the mice, and most of the viewers will remember this odd occurrence.

Overall, there were strong parts of Chamber’s first episode, Into the Void. Unfortunately, those well-done pieces were not enough to save the show from writing that was slow, clunky, and, frankly, a bit boring. While pilot episodes may be incredibly difficult to write and produce, they are also crucial for drawing in audiences. If the main point of the show is not clear within the pilot, viewers will feel that they are wasting their time. Though Into the Void failed to draw me in, hopefully the next episode will be a little more fast-paced and intriguing.