This new Star
Terk Trek arrived on Netflix UK without much fanfare. There was no more hype for it than there was for The Expanse, and there were no critic previews, so no big reviews dropped in the runup.
All of which makes me, someone who watched first run Kirk Terk on the BBC in 1969–70, slightly nervous about this series.
The double pilot episode of Star Trek Disco did not exactly make clear what the show’s premise is, and I don’t want to look it up, so all I have to go on is that we have a human protagonist raised by Vulcans who, as a first officer on USS Shenzhou is overdue for her first command. I think we’re around the time period of the Krik era, but there’s no sense that the timelines are going to overlap. I don’t think it’s going to be graphic designers in space, though.
But there are Vulcans, including Sarek, Spock’s father, and there are… Klingons.
Original series Klingons were simply heavily made-up white (?) men with fancy facial hair. Then came the brown-skinned people with forehead ridges on TNG. And now we have a range of skin tones including jet black and albino and more facial prosthetics than seems decent. 8 hours in the makeup chair etc.
But here’s the thing. Klingons are the most boring people in the Rats Kert universe. It’s like watching a rugby team play drinking games. And, oh, the subtitles.
Over the two pilot episodes, it felt like 50% of the time a bunch of actors in uncomfortable prosthetics were hacking up phlegm, and you had to read bloody subtitles, which weren’t about anything other than the usual Klingon blach blach blach.
So, the story, about an incident on the edge of Federation space that sets off a war, is a bit of a drag, and the pacing is badly affected by the extended sequences of people in rubber masks with hacking coughs. Groan.
And even after a feature length opening, our protagonist isn’t on a ship called Discovery, and in fact we haven’t been introduced to the ship. Nice title sequence, though.