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Ted Anthony
Two generations after their debut in 1966, the world of "Star Trek" became a vast and vast mural in an era of intense television streaming. rice field.
There is a dark and exaggerated "Star Trek: Picard". This is a deep study of the life-saving nature of a dilapidated beloved captain confronting the devil and, as we know twice in two seasons. "Star Trek: Prodigy" is a rich story of 3D animation for children, full of surprises. There is a more traditionally animated "Star Trek: Lower Deck". This is a wacky variation of the theme, unfolded on a similarly running spaceship and filled with moments of fan service.
And in the center of the mural painting is "Star Trek Discovery". This is a millennial epic journey of a federal spaceship and its crew to never save the galaxy (illegal) AI. ), Count 3 times in 4 seasons ("The Dark Matter Anomaly."), Not 2 times ("The Burn.").
A complex story arc. Deep serialization. Sequential display requirements and a span of serious attention. It's a lot of commitment, even for cheeky people. So what do the original series week planet fans and their temporary aesthetics do?
Of course, the answer is "Star Trek: A Strange New World." It records the voyage of USS Enterprise before Kirk became captain. The show, led by Captain Christopher Pike (Anson Mount), is essentially a work drama in deep space. Intergalactic drama is equivalent to seeing a really interesting office and experiencing different things that everyone is doing.
"Strange New World" is a true compassion for "trekking" fans who love the old, with the finale of the first season "broadcast" on Thursday at Paramount + in the United States. It was an errand. -It's an old-fashioned, self-contained episode, hoping for the opportunity to experience Whitman's sci-fi sampler weekly.
So far, the show's Peregrine is a one-off plot, changing and wandering in the most satisfying way, even if the character's development reaches beyond the episode.
Season 1 features comedy, horror, undersea thrillers, infectious disease dramas, and a complete medieval fantasy advance, among other genres of travel. Each is full of complex moral questions and allegories that made humanitarianism, optimism, and "Star Trek" highly relevant in the other period of relentless turmoil, the 1960s.
Viewers aren't just longtime fans, they're eating it up. The show has a tremendously high rating of 99% for rotten tomatoes and seems to appeal to both traditionalists and the new acolite. But why did this "trekking" universe iteration hit so correctly at this very moment? As Spock might say, there are many possibilities.
First, let's think about baseball cards and postage stamps. Both are feeds for collectors for a century and a half. People love them for many reasons, but they share important characteristics. Once collected, each is a collection of attractively shaped variants. And while its shape is familiar and generally consistent, anything happens inside that boundary.
Moreover, not all specimens need to crush the earth (or crush the galaxy). For each rare stamp of the 1909 Honus Wagner card and the 1918 "Inverted Jenny", there are countless other cards that are just a small glimpse of the day. They do not change the world in their own right, but each is the best example of this variety and, when collected, forms a larger tapestry.
But when it comes to the "strange new world," it's even more appealing. Oddly, it's also about normality.
Gene Rodenbury, creator of "Star Trek", originally marketed it as a "wagon train to the stars" and pushed it to the (final) frontier. But in summary, the original series, and the 21st Century Level "Strange New World," are meditation at work.
The coronavirus outbreak has taught us a lot about both being and not at work, and the desire for normal existence rhythms. Many people are regretting everyday problems, overcoming the ambiguity of the barrier between work and family. "Strange New Worlds" is a repeat of all its trekking poems.
Enterprise means "strange new world", Grace Lawn monument means "Gray anatomy", and Dander Mifflin means "office". It is a canvas. And behind all the great allegory that the best of "Trek" offers is something more mediocre. It's about evoking our own workplace, making friends with other departments, and meeting cool new colleagues (talking to you, Erica Ortegas). Deal with the masses that may sometimes look quite foreign.
Members of the "Strange New World" enterprise crew are living their lives. They are doing their job. Even when my job is really bad, like when I lose my job or get attacked. Like us, they feel different from episode to episode and from scene to scene. They are ridiculous one moment, vivid and efficient the next, emotional the next, and perhaps again ridiculous. It all feels more like a real life rhythm than a deep infiltration into one of these relentless story arcs.
And at the end of each week nothing is reset (characters evolve, pain endures, progresses), but starting each episode with a new story Feels strangely optimistic. Why is the opportunity to make a fresh start to the story every week so unattractive as humanity overcomes major problems such as climate change, guns, racial discrimination, misunderstandings and wars?
Save lives as we know. Of course, when needed. That's all part of sci-fi. But treat life as we know it. This is also a sweet and timely spot. Riding on this version of USS Enterprise, each works equally well. And in these turbulent times, at both intersections, "Star Trek: A Strange New World" is flourishing.
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The Associated Press's new storytelling and newsroom innovation director, Ted Anthony, has been telling us how American culture (and "Star Trek" fits into it since 1990. I am writing about). Follow him Twitterhttp://twitter.com/anthonyted(asterisk)
