Was the show doing well at all? I appreciate that I might just be in my own little bubble, but I don’t know a single person that loves this show. Some people like it, but it’s always a milquetoast endorsement, like “It’s not bad” or “It seems like a good scifi series but it feels like Star Trek fan fiction”, etc.
I’m surprised they didn’t at least strongly suspect it was the end.
Especially when compared to Strange New Worlds, which is an, imo, amazing Star Trek series.
I love it. But I keep it to myself because star trek online forums are pretty aggressive when you say you like it.
What I saw was ok from a plot perspective (for me). So the whole premise was nice and to me it fit into Star Trek. But as I just complained in another comment: I couldn’t cope with the amount of crying and the way they forced drama into the story.
Burnham is raised by Vulcans which is used when it suits the plot (then she’s extremely analytical and objective) but then suddenly turns into an emotional mess when they want to portray drama. That just feels … off. Also the other officers. I should believe that these are the best of the Star Fleet, top of their class, trained for war but then they falter in the middle of a mission because their lover/friend/whatever gets hurt or dies? That just doesn’t fit.
Maybe I zoned that out from previous Star Trek (because it’s been a while …), but in my mind the characters there were a lot more stable and professional. They all had their individual quirks and mannerisms, but during missions they more or less got their shit together.
Burnham is raised by Vulcans which is used when it suits the plot (then she’s extremely analytical and objective) but then suddenly turns into an emotional mess when they want to portray drama. That just feels … off
No, that part feels very, very on to me. Burnham was a human girl who was witness to family being brutally slaughtered (as far as she knew/could tell) who was then placed in the care of a Vulcan man who liked living as a sociology experiment. This is a person who is traumatized from a relatively young age, and who has no idea how to cope with her feelings. She’s never received therapy, only more psychological abuse.
The issue I ended up having with the show is that the show itself never addresses this. It’s actually pretty clearly the setup for the entire series, but no one ever acknowledges that Michael needs help, no one ever tries to get her any, and, in the end, she never gets the help she needs. They took what could and should have been a character arc about healing from abuse and just turned it into “SMG’s pretty good at crying”.
Once it became clear that the show had zero interest in examining its inciting premise, I lost all patience with it.
Likewise, the melodrama is what killed it for me.
There are a lot of bad trek episodes scattered across every series. Bad episodes isn’t the issue with Discovery. The issue is that, throughout all of trek, the crew has come together and stuck with each other through thick and thin. If there ever is inter-crew strife, it’s solved in generally one or two episodes (except for major plot/story themes like the Maquis, or Seven being a Borg).
Discovery, on the other hand, is a show where the crew was constantly backstabbing, betraying, lying, and being all around bad towards each other. There was no finding solace among the crew in a world filled with strife – the world was strife, and the crew was also strife. And whenever the inter-crew issues seemed like they could finally be resolved, some new stupid issue was shoehorned in. It was unbearable to watch because of the forced melodrama.
Crying alien baby breaks warp and Ensign First Officer Captain Tilly… That series is hard to enjoy…
Hey man you can’t control what you like.
I personally might have enjoyed it more if it hadn’t been (seemingly) shoehorned into the Star Trek universe. I understand it’s not a very subjective metric, but Discovery just didn’t feel like Star Trek.
It comes across as if someone producer got pitched a sci-fi series with the plot of Discovery and thought, “This is great! It would be even better if we slapped Star Trek all over it!”
I bailed on DSC back when season 2 was airing. Specifically, Project Daedalus was my last episode. Later, I tried watching it again and trying to enjoy it more on its own merits, ignoring the Trek branding and whatnot. I wanted to bail again at the exact same point. I don’t know if it’s a too many cooks situation with the constant showrunner turnover or if the writers’ room just has an obsession with melodrama, but at no point did it feel, to me, like there was a good show hiding in there.
Greetings fellow DSC fan. I like the show, too. Considering that Paramount+ kept it going for 5 seasons, a lot of other people watched it. While I’m a fan of the show, I don’t think it’s perfect, and I can respect other folks critiques of the show. But sometimes the vitriol generators go so long and strong, it can be difficult to separate the signal from the noise with DSC criticisms.
Available analytics have placed it at roughly the same level of demand as SNW - often slightly ahead, but close enough that I’d call it even.
That’s an interesting metric. Apparently the vitriol for Discovery is mostly contained to the internet.
This comes as no shock at all.
Y’know, if I had a nickel for every time Jonathan Frakes was involved in a Star Trek episode that unexpectedly became the series finale, I’d have two nickels, which isn’t a lot but it’s weird that it happened twice.
There’s a lot of “emotionally” in that article. Kinda fits the series that was over-filled with emotional crap. (tbf, I aborted watching somewhere in Season 3, so maybe that changed afterwards. But I doubt it.)
yea, love it or hate it, Discovery did not really change its core vibe. I think I had hopes it would in season 3. Season 2 had already played with different vibes with Pike/Spock etc. And the idea for the premise of season 3 was so bold (and which I think is the best and most forward pushing premise of Trek since Next-Gen and DS9) that I figured something new was in stall. It seemed so at first … but then wasn’t really IMO.
From what I understand in television writing it was a constant struggle of “should we write a cliffhanger hoping it gets us renewed” to “we should have some closure in case we get cancelled”, since many writers had no idea what would happen.
Depends on how you look at it.
I don’t think we know of a case where it convinced a studio executive, but then again we know very little about the reasons why some shows get renewed and some don’t.
We do know cases where ending on a cliffhanger helped drumm up enough fan engagement to reverse a cancellation (timeless on nbc is a recent(ish) example for that)
I hope they did not go for the Holodeck Series Finale, where we kill a main character, again.
