I said comparison not criticism. The two are not the same.Beat something else down”? We live in a civilization that has evolved art and art criticism, whether it applies to literature, film or television.
I said comparison not criticism. The two are not the same.Beat something else down”? We live in a civilization that has evolved art and art criticism, whether it applies to literature, film or television.
I said comparison not criticism. The two are not the same.
Since I'm not a film critic I'll stand by my approach. I will not compare. If a story doesn't work it doesn't work. End of story.? Of course they are, or film schools would be unable to examine specific ways in which one film director influenced another, who then went on to develop a new approach. Next thing you’ll be arguing is that story construction and cinematography don’t exist as universal skills that can transfer between shows, that Star Trek is bound by its own “laws of story” which have nothing to do with those on Breaking Bad. No, all that’s different is those in charge and whatever confluence of factors generates a consistent production vs a haphazard one with recurring upheaval behind the scenes. Better Star Trek can exist in theory, in practice maybe never, but anyone can see it and say so. There is no contradiction in saying DSC is nothing special even as we still watch it because it’s Star Trek.
So there's no correlation between my age and which Star Trek I like at all.
Since I'm not a film critic I'll stand by my approach. I will not compare. If a story doesn't work it doesn't work. End of story.
Fine, I can be the exception. I don't mind that. I know how storytelling works and what works for me. I don't need to compare DSC to TNG to know what I like. I don't need film critic theory to support my engagement with a work.You’ll find yourself to be a massive exception since most people who are taught literary and art criticism in high school or earlier remember to apply the necessary observations later in life also. Anyone can retain an interest in great storytelling and continue to analyze it and discover why it is great.
Of course not, but it’s still unusual that you should applaud the two shows centered on far-fetched and ultimately defused conspiracies threatening life as we know it, as opposed to TNG or DS9 with their ensemble casts and a wide variety of subjects designed to explore the individual characters so they could evolve in their personal history and quirks.
Personally, I think the shows have explored the main characters just fine.I'm not going to change my opinion just for the sake of satisfying an argument on a TrekBBS thread. When I'm watching the shows on TV, I know what I prefer. And no gatekeeping argument you post will change my mind.
I'm not going to change my opinion just for the sake of satisfying an argument on a TrekBBS thread. When I'm watching the shows on TV, I know what I prefer. And no gatekeeping argument you post will change my mind.
I can post a long eloquent post but A) It's Easter, and B) It won't do anything. You're not receptive to anything I say. So this is an utter waste of time.Gatekeeping? When a first officer mutinies because of an opinion based in Vulcan philosophy and is then recruited by a captain who turns out to be … from the Mirror Universe! WhenBesides, nobody is keeping you away from any gate; I’m just saying it’s strange you don’t see the cartoonish extremes and tropes in the writing of the two recent shows.a season ends on a happy note with a murderer remaining freely on the bridge, and begins with a Cylon attack on Mars?
So you're saying they're Star Trek?I’m just saying it’s strange you don’t see the cartoonish extremes and tropes in the writing of the two recent shows.
I’m just saying it’s strange you don’t see the cartoonish extremes and tropes in the writing of the two recent shows.
Because it's a part of Star Trek from the beginning.Gatekeeping? When a first officer mutinies because of an opinion based in Vulcan philosophy and is then recruited by a captain who turns out to be … from the Mirror Universe! WhenBesides, nobody is keeping you away from any gate; I’m just saying it’s strange you don’t see the cartoonish extremes and tropes in the writing of the two recent shows.a season ends on a happy note with a murderer remaining freely on the bridge, and begins with a Cylon attack on Mars?
I'm just saying it's strange you don't see them in all of the earlier shows.
Cool story, bro.The Terran Emperor comes along to become a member of… Section 31?
You and other commenters are ignoring the proportion of fan-serving extremes here. When yon only have 10 to 15 episodes per season and extended production time in 2017+, the result should be something like picking the best 10 to 15 varied, representative episodes from two 26-episode seasons of TOS, TNG or DS9, the idea being that the franchise has learned its lessons and found a way to present its best foot forward for this day and age. Instead, we get a mix and match of sci-fish highlights expanded into structural members with little regard for character development. What do we learn about Burnham or Stamets as people with everyday lives beyond plot needs? Very little, since there just isn’t time before the universe is lost.
You don’t build a Star Trek season by extending a TNG/JJ movie plot by a few blank slots and filling them in with famous callbacks: instead they should diminish in proportion and thus basically disappear, leaving us with no time at all for something like the MU or S31.
Exactly, and if one doesn't enjoy Michael then they probably are not going to enjoy DSC. Not good, not bad; just is.DSC is Michael Burnham's story (with everything about the narrative filtered through her perspective).
While I don't think I would call it my favorite or the best Trek yet, DS9 is still my favorite, I am actually and rarely in almost one hundred percent agreement with you.I fully believe that DSC is what a modern version of DS9 would be like, which is why it eclipsed that series as my favorite - and best - iteration of Star Trek.
Just as DS9 was Benjamin Sisko's story (the narrative was completely filtered through his perspective even though not everything about the narrative directly revolved around or was related to him), DSC is Michael Burnham's story (with everything about the narrative filtered through her perspective).
Exactly, and if one doesn't enjoy Michael then they probably are not going to enjoy DSC. Not good, not bad; just is.
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