OK, I understand the idea behind the visual redesign. It’s 2017, not 1967. And the showrunners opted for Prime universe rather than Kelvin to preserve creative independence from whatever the movie franchise is doing. They do, however, want to appeal to the audience that the new movies in the Kelvinverse have recruited. Therefore: lens flares and Apple Stores.
But really, hairless Klingons? With a H.R. Geiger armor aesthetic?
It’s not like we haven’t seen the 60’s aesthetic embraced by modern television. Deep Space Nine went there and did it brilliantly – they arguably made the TOS USS Enterprise look even more gorgeous than any of her successors, and they didn’t change anything about her at all – just lighting and texture. Enterprise itself managed to authentically portray a pre-Kirk technology chic that had a more industrial feel, which was utterly believable as the ancestor to the softened look of the Kirk era. I do not accept that the Kelvinization of the Prime timeline was necessary to modernize the production. After all, the aesthetic of The Expanse and Dark Matter is thoroughly modern but doesn’t have the same Kelvin fascination with chrome and glass. Not that I want any Trek to go the grunge-fi look, but I do at least want Trek to honor it’s own identity. This feels like a rejection – purely a Han shot first decision.
Unless directly contradicted on screen, I think that my own headcanon about First Contact creating Enterprise can be amended here to argue that Discovery is in a Beta timeline. The Prime timeline was TOS/TNH/VOY/DS9, but the events of First Contact created the Beta timeline, and the Kelvinverse is an alternate reality branching from the Beta timeline.
Some may dismiss all this timeline canon angst as pointless, but since time travel and timelines are literally a backbone plot of the Star Trek universe, this is a legitimate area of fan analysis.
wow. that raises the bar in my imagination for any space battle in any sci fi. I’ll never be quite as enamoured of X-Wing dogfights ever again. The Expanse is true hard sci-fi in the TV era – there’s as much depth in the novels for a Game of Thrones-esque run if they do it right. Having read (most of) the books, I am amazed at how amazed I am at major plot developments in the show, even though I know they are coming – they just have such incredible impact.
What would a guy really be like after 500 years of practicing sword-work? I’m still a stunt guy at heart. You want to reinvent gunfights, how do you do it? You want to reinvent swordfighting, how do you do it? And that’s where we are at now. I love the first Highlander and I think I’m in a pretty good spot. The creative team, the producers and the studio that’s behind it have kind of said, ‘It’s yours to play with.’ The trick would be coming up with an interesting way to introduce it to new audiences without stepping on what’s great about the original property. You don’t want to over complicate it. I think it speaks very simply: ‘There can be only one!’ ‘We’re immortals!’ ‘Don’t get your head chopped off!’ I think we all know what happened with the sequels.”
“When I came on, the property had already been developed for a couple of years and, as things happen in Hollywood, yeah, there was aliens, meteors, spaceships, uh, DNA mutations, terrorists. I mean, they’d tried to drag every plot into the Immortal world. My personal opinion, I don’t want to see any of that. I’m not interested. I have seen other movies like that. I haven’t seen the Immortal world.”
50 years into the future, time has not been kind to Jack. Aku has destroyed all of the time portals, thwarting the journey to travel back in time and stop him. Now, Jack is immortal (as a side effect of the time travel), but broken and lost. Aku, similarly, has everything he could ever want and is equally miserable. It’s a dark vision, not just in terms of the world, but in the personal despair.
Looking at Carrie Fisher’s other books that feature her in her Leia persona on the cover, namely Wishful Drinking and Shockaholic – I am struck by the fact that she always portrayed herself as Episode IV Leia. (Both are out of stock right now, too). Obviously, she wasn’t a fan of Slave Leia, but General Leia didn’t seem to be as iconic in her own mind.
In a recent Facebook convo about Leia’s image, a female friend of mine expressed that she thought General Leia in Ep VII finally redeemed Leia from the “degraded mess” the character had become in Return of the Jedi, presumably because of that bikini. Alyssa Rosenberg in the Washington Post writes a pretty comprehensive defense of Leia on that score. I largely agree that focusing on what Leia was wearing misses the point – Leia was kidnapped by a space slug, forced to wear something obscene, and then killed him with her bare hands in revenge. The bikini was a literal symbol of how women are oppressed, and it’s her resistance and revenge over the victimization by Jabba, not the actual victimization itself, that define Leia. Fisher herself colored outside the feminist lines – she once joked about not remembering who she slept with to land the Leia role, but hoped it was Lucas himself! That’s not exactly a female-positive sense of humor. Likewise, what Leia wore in one scene of one movie shouldn’t really degrade the character or define it. Leia was complicated, reflecting how Fisher was complicated.