Andrew Parker

The acting is fine, there is clear talent in the cast. The script is the main issue. If you create a world in which even the dark topics are throw away laughs, it's very difficult to then create drama around a subject or scenario where you expect the audience to suddenly care. As a result the attempts at drama or heightened tension in scenes is ineffective. Unfortunately because of this, it's hard to care about anyone or anything in the film. There are a few funny throw away lines which do prompt a chuckle but they rely on such "crass" topics and "taboo" subjects that it just feels desperate. A long term listener and fan of Ayo Edebiri's podcast (which I would still recommend), a podcast which takes a very righteous angle on roles in films for actors who match the characters attributes (e.g. Jewish actors for Jewish roles, black actors for black roles etc.) I was surprised to see non queer/lesbian actors playing queer/lesbian roles and "Uglifying". On this argument, you could then say why are 25 years olds playing high school students....I personally disagree with the whole argument - an actor is just that an actor - I am pointing out hypocrisy - a word which sums up the film. Tries to convey a modern, serious "message" within all the comedy but ends up more of a mess.

Season one was good. Not excellent by any means but kept enough darkness, ‘realism within the confines of the trek universe’ and like-able characters to justify continued watching. The storylines were inventive and an homage to the original series filled with obscurity and wonder. Season two has completely eradicated all of season ones storytelling. The casting is woeful with Noonien and captain Batel being way off the mark and unfit for the supposed characters they are assigned to possess - Posh gals with good agents or connections to producers being the only explanation for their inclusion. Babs and Celia are fantastic - their scenes always captivating. The dialogue in season two however is cheesy and contrite and unsalvageable even in their hands. Season two invites the audience to pick a side in todays political battles while destroying the trek folklore by ignoring the sense of naval/military honour within Starfleet of old. I believe Roddenberry tried to challenge the audience to be better, think bigger. The rules defined by the trek universe are thrown to the wind and steer more towards the latter season writing of Star Trek discovery - Self righteous storylines that preach about todays problems, rather than looking to the future to imagine the what if - instead relying on cliche tropes (projected onto a futuristic backdrop) of what is.