First off, I really liked Season 1 - in fact, I was a staunch defender of it, going so far as offering point-by-point rebuttals of criticisms on Facebook groups last year. Then Season 2 started and I watched the first episode, and I don't know what happened but all the excitement left over from the (mostly) vibrant 1st season had all of its tachyons reverse polarity or something and we dropped down to impulse power. So I essentially dropped it until this past weekend where I binged the whole 14 episode season in a STD marathon, hoping to at least appreciate the ebb and flow of a larger arc.
Yes, there were a few episodes where some of the old excitement seemed to come back a bit (Michael's mother's ep, the sequel to The Cage, maybe some sequences here and here involving Georgiou), but overall it was a bit of a slog. Actually it would have been really unbearable if not for Jeff Russo's score. Russo can be "on" and he can "off", but for STD, he always seems to deliver.
OK, some more detailed points. In season 1 Tilly and Michael were at times, uhhh...overly "emotive" and/or "sharing". I decided to give this a pass despite their teenage hijinks sometimes distracting me, since the story had enough twists to keep me interested. This season however, I had hoped that their characters might have "seasoned" a bit, possibly calmed down from sorority house-level character exchanges and moved onto more realistic adult language. Anyways, all I can say is that I sure came to appreciate Counselor Troi's contributions a hell of a lot more than ever before. I mean, it was kind of like as if "The Naked Time" had lasted an entire season on Discovery. Anyways, I actually quite like the actors but the dialogue and direction they were given really did them a disservice.
This premise of a Red Angel was OK. That seemed like an interesting mystery that could lead to some surprises, maybe some cool new mythology. The reveal of Michael's mother being in the suit mid-season was a masterstroke, I have to give them that. But then the last episode piled on so many ridiculous (as in unrealistic and distracting) plot complications and equally eye-rolling solutions that I honestly felt depressed afterwards. A lot of these plot-holes have been cited by other reviewers so I'm not going to make a big list but you could essentially kind plug in characters' names into a sentence like "Why on Earth did (character) suddenly (action) since (character) was already (state)?"
For example:
Why on Earth did (Discovery) (have to escape to the future) since (Control) was already (defeated by Georgiou)?"
"Why on Earth did (Saru's sister) suddenly (show up as an ace fighter pilot) since (Siranna) was (previously established as a field worker)?"
I guess a couple other variations would be "Why does Tilly close her eyes to fix the shield mechanism? Just to duplicate some notorious drinking game? What?"
How does a photon torpedo take out a quarter of the saucer section, and yet not make a scratch on the door window?
Stametz and Culber's arc: Stamets misses Culber. Culber miraculously comes back due to Stamets' love while in the mycelial network (Huh?). Culber is confused about his feelings. Culber and Stamets reunite. I don't know, outside of their being in a same-sex relationship I have no idea why that qualifies as a plot arc in a science fiction show. It's like if TOS Uhura wrestled a whole season with being a black woman in Starfleet (I guess?). In TNG Data wrestled with the nature of humanity. Culber wrestled with whether he was still gay or not? (because that's the message I was getting from that weird exchange with Georgiou).
Another thing which left me pretty cold was this whole finale space battle. Star Trek at times has demonstrated some keen tactical moves (such as "Wrath of Khan"'s use of environmental and tri-planar ("3D") ambush tactics, Riker's use of short-distance warping in "Nemesis" (although that was stolen from the classic Space Battleship Yamato series), etc...). But this "space battle" was just a big cloud of glowing gnats swirling around stationary capital ships and spontaneously causing explosions. In reality, it's entirely believable that you could just have a ""Fire everything!" kind of battle (ala the sea galleys of old), but this was for the most part just a big light show. Yes, it was cool that Pike protected Discovery with its hull, but it essentially put itself in harm's way to buy Discovery only about 20 seconds, during which Control's drones could just GO AROUND it.
Anyways, these are just a few things which took me out of the story. Plot holes are perfectly acceptable in a feature (Star Wars for example is obviously a total fantasy) but when elements of a story repeatedly shock me out of the narrative flow with their unlikelihood or lack of consistency...
I really wanted to like this season, and I think there were some really good ideas in its premise, but its execution seemed to have been put together by inexperienced writers. Also I'm guessing Nicholas Meyer was not involved this season, that may have had something to do with it.
Anyways, at the very least I just hope that next season he characters start acting more like professionals.
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