Having said that, what the series did with Capt. Now I’m a big fan of Discovery - which exists in an updated and diverse new reality that seems almost impossible to lead into a decade where women in miniskirts pour Kirk his morning coffee and Klingons look like brown-face Italian extras in Sergio Leone westerns. Abrams’ so-called Kelvin timeline seems to have run out of dilithium. Which is actually not a bad description of a bunch of junior executives bankrolling a bunch of no-brainer content, not because they had bold and thoughtful new stories they were burning to tell, but because above all, they knew they could make money.Īnd yet the fourth new-era Trek film - surprise surprise, a time-travel tale - is currently trapped in the belly of a whale: development hell. The recent cinematic Star Trek trilogy, meanwhile, saw the original series semi-rebooted as Leonard Nimoy’s Spock went back in time and changed history, sorta-kinda sidestepping everything that had gone on before (it’s rather complicated).Īs undeniably fun as those films were, they were in essence simply mining operations banking on a nostalgia and familiarity which in itself worked - yet somehow all three stories managed to deliver essentially the same villain: a madman out of time bent on destroying everything beautiful around them. To start with, the last two television series - Enterprise and Discovery - are official prequels, apparently leading up to the prime era of NCC-1701’s Capt. For a franchise set in the future, Star Trek spends an unhealthy amount of time in its own past.
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