Honestly when I learned Fuller was behind that lame grimdark "The Federation has stagnated and collapsed" pitch years back, I knew he wasn't going to be a good fit for Trek.
Personally, the main thing I associate with Fuller is
Pushing Daisies... which was a wonderful, quirky, colorful, downright whimsical show... even when it was dealing with what would normally be seriously dark material. Not that I'm saying it offered a template Trek should or could follow — just that it demonstrated Fuller is capable of handling a wide range of material, in terms of tone and theme. So I'm honestly nor sure how much of DSC's shortcomings to lay at his feet, especially considering how (relatively) early in the production process he was out of the picture.
Yeah... like the cycle of the seasons somethings just dont change. People complained about The Next Generation when it first came out, people complained about Voyager when it first came out, people complained about Deep Space 9 when it first came out, and people complained about Enterprise when it first came out.
Well, in all fairness, every one of those shows pretty much sucked "when it first came out." Some of them got better later, and some didn't, but certainly none of them deserved to be immune from criticism out of the gate. The only
Star Trek series that was ever genuinely awesome in its very first season was the one that premiered in 1966.
Yes, Discovery is portraying the suffering that led to the optimism and values that we see in later series. It astounds me that people don't see that and just want cookie cutter, straight out of the packaging, perfect humans running around.
Speaking strictly for myself, I would enjoy seeing a somewhat more optimistic and values-driven depiction of Starfleet than DSC has been giving us, but that definitely
doesn't mean I want "cookie-cutter... perfect humans" in the TNG mold. I prefer something more in the TOS mold, where the characters were human (well, at least half) and their challenges were real, but the show still managed to be colorful, idealistic, and upbeat.
The notion that we need to see a darker backstory in order to justify that idealism a few years down the line is frankly unconvincing to me. It's the same kind of
post hoc rationale that was offered up for the darkness of the movies
Man of Steel and then
Batman v. Superman... that they were just "setting the stage" for the more upbeat idealism to come later (about Superman, for heaven's sake, whose
defining characteristic has always been that he's the perfect hero!)... when really it just came down to the fact that Zack Snyder doesn't much care for that heroic ideal and thinks darkness is kewl.