Star Trek: Strange New Worlds

The first season of the new Star Trek series reminds us the heart and intelligence that personifies the best of the franchise, is still beating. 

In a United States that appears to arguably be experiencing an existential crisis, Star Trek: Strange New Worlds is a beacon of hope in a too-often bleak and reductive American television landscape.

 

The strength of the series: how elegantly both the season, and singular episodes are constructed. Plot points that traverse the season meld seamlessly with single episode adventure formats.

As a child, Captain Pike in the original Star Trek series was the first tragic figure I encountered on television, and obviously lingered in my psyche. The series amplifies the complexity of his character arc.

 

To me, Captain Pike has always epitomised the idea, bad things happen to good people. This series asks, what if he knew his future, but also faced a conundrum: changing it to save his life, would condemn others?

 

The best science fiction often incorporates questions of ethics, considers empathy, and ponders complicated humanitarianism. Star Trek: Strange New Worlds truly honours these thought-provoking narratives. 

 

At the same time, like the best of all Star Treks, Strange New Worlds addresses the issues of today. Diversity, and making a stand against discrimination–even societally accepted forms—are woven throughout.

 Amongst these large themes, personal growth also has a solid presence, something that has always been part of Star Trek’s appeal. Here, the well-rounded characters are revealed to be increasingly complex as episodes unfold.

 

Visually, the series is a fusion of various incarnations of Star Trek, with its own signature take. Cinematic, awash in stunning wide shots and meaningful close-ups, the camerawork creates a sense of motion.

 

The editing, lighting and sound mesh beautifully. Set design captures the spirit of Trek with a 2020s influence. Special effects never distract. The monologues sound so rich. The series is a pleasure to watch. 

For me, probably costuming and hair and makeup are the weakest aspects. But in saying that, it’s still strong, just not as impactful as I would have hoped for, with a few style choices I consider less effective.

 

At the heart of the series, optimism prevails (in an era where negativity has quite the presence across American entertainment). Captain Pike is the embodiment of optimism and faith in the better aspects of humanity. 

 

The casting is quite brilliant. I’ve never found any episode jarring from lacklustre performances. Lead trio Anson Mount, Ethan Peck and Rebecca Romijn do a truly stunning job in their roles.

But performances across the board are also impressive. The crew feels like a cohesive, complementing casting effort. It’s always great to see selecting the core characters for a TV series taken seriously.

Overall, I would consider Star Trek: Strange New World’s greatest strength to be, confidence. The show runners clearly selected a team capable of producing the highest quality of television. 

 

A sense of pathos has always been essential to Star Trek’s success. The latest series blends the best of past Treks with present sociological priorities, while still remembering to be consistently entertaining.

 

The new Star Trek maintains a franchise preference for hierarchical structures and the normalisation of monogamy, probably because target American audiences feel most comfortable with these elements.

Yet, in the mix are suggestions and explorations of other cultural takes on ways to live and communicate, and I’ve always considered these storytelling moments to be the marker that makes for great Star Trek.

There is still swagger and humour and a penchant for exploring interpersonal relationships as much as the galaxy. But here, restraint and inference make for quite the thoughtful, contemplative take. 

 

I feel the series is telling us there are different ways to be bold. Reminding us of the power of the medium. Celebrating the idea of a society built on education, and positive ideological framework.

 

The need for the humanities, and the sciences to have equal power is strong in Trek. The pilot episode even references America having a dark future. "Civil War, then the Eugenics War, then finally just World War III."

The series is proof television can still be intelligent, engaging, entertaining and encourage open-mindedness without alienating audiences—and all of this is more impactful in a beautifully made bundle.

 

“Well there’s surviving, and then there’s living,” says the Captain in the first episode, an approach to life that permeates this series. Captain Pike and his crew are going to enjoy every step of their bold, somewhat poetic journey.

 

After less than stellar Trek forays–action-focused, or telling rather than showing—Star Trek: Strange New Worlds sets the franchise back on course, envisioning a smarter, kinder, braver and more self-aware future. 

Why Hellbound is the Standout Series for 2021

 An intelligent scripted TV series that holds a mirror to modern culture was never going to be widely embraced.

Hellbound is a South Korean 6 episode series that sees random members of the community receiving messages warning of their time of upcoming death. Bizarre creatures appear, brutally killing the condemned, before disappearing again, seemingly into thin air.

As expected, the increase in killings has severe ramifications on society. The plot starts just as the phenomena begins, taking us through the ensuing years.

Hellbound tackles hard issues, including religion, and government: the symbiosis that develops, and the way religious organisations generally adapt to the fears of the many, while benefiting the few.

South Korean dramas are often lauded for quality writing, and this is no exception. But while critics celebrate the series, less enthused reviews by the everyday global audience are showing more about the reviewers, than the material itself.

The anger of those who don't like to think beyond the obvious; the confusion of those who have lost the ability to process storytelling that isn't simply a spoon-fed linear narrative; the indignation of those made uncomfortable at the portrayal of judgmental and dogmatic mindsets.

The unease of those unwilling to consider the role of religion in their behavioural patterns; the boredom of those for whom television only entertains if it is truly empty of social commentary.

The discomfort of those who see aspects of themselves onscreen, and the outrage of those who want to live in a shallow world rather than imagine reshaping it.

…Do I sound critical? That's because I am. Entertainment doesn't need to be empty, or an endless visceral thrill. Contrary to today’s popular thinking, television that challenges are not inherently flawed.

The creatures of Hellbound are a metaphor for occurrences that humanity cannot explain. In response, society will always attempt to create a suitable narrative. This is the way it has always been. And often, when fear prevails, there is an ugliness embedded in the result.

Many have criticised Hellbound for plot holes, when they actually mean character inconsistencies that accurately reflect human irrationality, especially in the face of an existential crisis.

The pandemic itself has shown humanity’s obsession with choosing a narrative: creating a personal or societal mish mash of beliefs to uphold the idea of a reality they can accept. It can be argued, the discomfort and dissatisfaction with Hellbound arises from resentment at this subconscious tendency being placed under scrutiny.

The unknown has always fascinated writers. Hellbound offers us the result of a society dealing with the unexplainable. It also encompasses personal journeys within this context. Often gritty, and gory, it isn’t fun. It’s brutal, challenging, and riveting.

Characters grapple with existential dread, revenge vs justice, the definition of sin, and the complexities of family. While there are traditionally “good” characters, they are in the minority. Almost everyone becomes flawed and erratic under the pressure.

Equating death with “failed” living permeates the human consciousness. Hellbound takes that vague discomfort and moves it to the forefront. The point of life becomes avoiding premature death.

On the technical front, I loved the dark cinematography and the story’s structure. The cast are outstanding. My only real criticism was that the monster CGI wasn’t as disturbing in the way the story itself. I found the dementors in Harry Potter much more unsettling. I think if they had been amorphous, they would have proven more visually impacting.