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This time, we can track the fate of the starship and crew of the Discovery Starfleet, not the Enterprise. If we have the strength to add to it, as we do with the scriptwriters.
Behold, a virus can really destroy everything. Cinema as an institution is clearly the loser in the Covid-19 epidemic, but the film, once a script gets to shoot it, takes it all: at home, in front of the screens.
Decades ago, film producers and distributors realized that only one series could catch fans in front of the screens of more than one movie.
THAT’S A GOOD STORY, GREAT STAFF TO ATTRACT THAT AT A TIME THAT WAS NEVER EXPECTED.
And today, when many people already look for the right words on the tombstone of the cinema, the series really seems to have triumphed over the movies of all night. That this is not the case, we will have to wait for the certainty to pass until the epidemic passes, but in the meantime everything is given to the home theater experience: money, technology, surface.
THIS IS HOW THE STAR TREK DISCOVERY SERIES, WIN THE NETFLIX, LAUNCHED.
Who is unfamiliar with the original space opera series, even from the period 1966 to 1969 (the timeless classic starring William Shatner and Leonard Nimoy), nor the subsequent episodes that followed, and none of the pieces in the saga in cinematic solo, including JJ Abrams 2009 The New Stream’s first episode (featuring a lavish portrayal of Khan by Benedict Cumberbatch in the 2013 sequel), nothing was missed either.
The Discovery Starfleet story is self-contained, interpretable and self-followable. His heroes, who travel the infinity of space, are as fallen as anyone else in the Star Trek universe; they make exactly the same human mistakes as any of us here in the Carpathian Basin.
Their destiny is emotional, the basis of their human games can be discovered in any work or family community, and perhaps the destiny of a series is decided here because it turns out that its heroes
- whether they are adorable or not;
- whether we can identify with them or not;
- whether we can understand them or not.
THERE IS STILL A FOREIGN RACE IN HISTORY, THE KLINGON, THAT WANTS TO DESTROY HUMANITY.
Whether or not we understand the essence of the spore engineer, that the universe functions like the human body, that it is connected and operated by a series of neural orbits, only things are infinitely invisible to the human eye. Sumptuous.
Star Trek Discovery was able to show something new in this regard, to create an adorable one. The first season is also adrift in episodic parts, and this is largely due to the fact that we meet characters that we assume are capable of becoming iconic. The half-sister of the series’ famous volcanic Spock, the macho Michael Burnham (Sonequa Martin-Green) seemed the perfect choice to convince us that another Star Trek immortal is now being born here. She is a woman who is not a bomb, but attractive, full of feminine energy and yet she is not a Little Red Riding Hood, and whose poster probably hangs on the wall of all Star Trek fans.
Or Saru (Doug Jones), who represents the Kelpien race, who turns out to be much more human than you think. Or Phillippa Georgiou (Michelle Yeoh), who may even be an empress in a parallel universe, but at the beginning of the series is the captain of the Shenzou ship.
However, the line cannot be continued long. The other characters in the story (aside from Captain Gabriel Lorca – Jason Isaacs) are easily immersed in an average series. it must be such a character in the way of. And while Discovery carries the special Star Trek signs (the original creators anno, as early as the 1960s, the characters were selected to include Africans, Asians, Europeans, Russians, and Americans, and even homosexuals – that is, all the things that will make the series a scandal),
AFTER THE FIRST SEASON, DISCOVER SKILLS TOO EASY IN A SOFT AND VISIBLE SERIES.
And the main reason for this is that if screenwriters refuse to write stories, obscene dialogue on moral issues remains an escape.
The protagonist has not cried as much in a Star Trek series as Michael did in the second season. Let it be an excuse for the creators: this is perhaps also a reflection of what the world around us has become. As if the XXI. The man of the twentieth century would have been divided into two camps: the homeless and the predators. And Michael prefers to cry because he believes that the world can be saved by heart.
A WORLD IN WHICH WE ARE THE ENEMY. OUR WRONG PARTY. MIRROR OF OUR GOOD.
But perhaps this also includes the fact that if we remove evil from a story, against whom it should and can be fought, there is no choice but to find something against boredom.
The initial description of the Klingons, and especially their language and intonation, cannot be considered a representation of the terror of religious fanaticism that has taken hold in the world today.
WHAT SIMPLIFIES EVERYTHING WE THINK IN GOOD AND BAD FIGHT.
Photo: Netflix
It is true that there were already Klingons in the series that year, and that is not necessarily what contemporaries saw in their minds at the time, but lo and behold, world events have a similar effect on what we think of when watching a movie or a movie. Serie.
Consequently, the third season of Star Trek Discovery takes place in a heroic, saving and liberating direction, drawing little from the formal language of the spaghetti western, which is surprisingly good for the series, the story immersed in an emotional source. He’s hopeful that this story can still come out of the ocean of thrills and, when it dries up, can be turned into a thrilling Star Trek movie.
(Cover image: Netflix)
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