What I personally dislike about it is that modern day doesn't fit into the Trek continuity. Thirty-seven million people died in the '90s of the Trek universe during the Eugenics Wars, an event that obviously never happened in the real world.
37 million people is like 1/10 of only America's population. You could eliminate 37 million people today and not even notice they were gone if it was spread out world wide.
Yes, but the ripple effects from large scale wars like that would make the 2020s of the Trek universe very different from real life. They could address that by doing things like having a completely fictional US President, fake movie posters outside of theaters, etc, but I fully expect them to reference real world stuff instead which simply doesn't fit post-1992 imo.
You are confusing the Eugenics Wars (plural) which were a series of brushwars and political conflicts dotted all over the globe with WWIII which was an Armageddon-like massive world war that happened later (about mid 21st century). Unless they show news broadcasts about it in PIC the Eugenics wars would not be particularly noticeable in the areas they were not happening in, sort of like the real world conflicts in the Middle East.
They already showed in Voyager that they were rather localized despite being quite deadly, and those casualty figures probably include the mass executions mentioned in the show which would have been kept as low-key as the perpetrator could manage and probably only fully enumerated later when the world court tallies up the atrocities.
Personally, I don't see Disco as an evolution...it's badly written, with no character development and a thoroughly unpleasant perversion of everything that came before. There are no original ideas, so they go back on everything that was previously done well and taint it.
It's producer-driven garbage, which I've hoped would get cancelled since season one.
Sorry if that's harsh and I don't mean to pick a fight or insult anyone who actually enjoys it, but that's just my personal opinion.
This is one of those rare instances in which I agree with Som. To quote:
Seven at the start of her appearance was a former Borg drone who didn't understand basics of human emotions and actions, and asked dumb questions, and made silly remarks about them.... Seven at the end of season 7 was pretty much the exact same, except now she is hooking up with Chakotay for some reason.
Its the exact same issue Data had in TNG. Any episodes where they obtain growth are pretty much entirely negated by the next episode in order to maintain the status quo for the episodic TV format.
Picard had more growth for Seven then her 4 years on Voyager did.
Claiming that DSC has no character development implies that the older series had an abundance of it. And they really didn't.
Character development in NuTrek (don't anyone get in an uproar over the term, I am using it for convenience, not name-calling) tends to be overly convoluted, unrealistically rapid, and all over the place instead of a coherent progression. It fits the action/ melodramatic style of the new shows the same way that it does for other melodramatic shows like soap operas but not normal dramas like the traditional Trek shows.
It is kind of a trend or evolution if you look at it from a very wide point of view, CGI has made eye candy so easy that screenwriters no longer have to be quite as clever about how they script things since the current idea is that the viewers will never notice the goofs and holes in the plot past all of the glorious visuals and action, and the first thing that comes to mind can be done without too much technical difficulty.
And in that kind of high-action, stunt and visual oriented environment melodrama usually works better since it's exaggerations tend to stand out and not get trampled by all of that the way regular drama often does with its lower key psychological foundations, especially since it is the immediate action itself that drives the tension in the currently popular format rather than the more abstracted tension from the plot itself.
TV scriptwriting used to be a form all its own, very different from movie scriptwriting, but that is not so much the case anymore. The trend in the last few decades has been moving towards making nothing but movie style, in effect just making screen-novelette movies (all too often based on the same story kernels as a single episode would have been in the past) broken up into eight or ten installments, often with inane filler thrown in to stretch it.
Another thing that sets off a lot of the more future-fic-history oriented Trek fans (who tend to get very annoyed with rampant revisionism in the false-guise of "progress") is the bait-and-switch feel the above gives. CBS hypes "a return to Star Trek after 50 years" but delivers Fast and Furious in space and a scathing contempt for the era instead of the reasonably serious soft sci-fi series and at least something reasonably similar to the technology and setting they expect from that hype. Traditional Trek and NuTrek are not even the same subgenre of sci-fi.
And before someone accuses me of being some luddite in a cave somewhere that hates anything "new", I do like DSC though I would have preferred on the basis of principle that they had actually taken a serious look at the era they were trying to set the show in instead of brushing it off as "too old to bother with" and using The Undiscovered Country as the basis for the show technology and society instead of actually modernizing the Cage/TOS era stuff. By definition updating something requires starting with what you are updating, not basing it on something that is only similar.
PIC is a little closer to TNG than DSC was to TOS before the time jump, but the writing team cannot seem to get the idea of the "thinking drama" style of TNG to work in the format they are using so it comes out quite flat without the heavy action orientation DSC substitutes for that kind of drama.
Comments
You are confusing the Eugenics Wars (plural) which were a series of brushwars and political conflicts dotted all over the globe with WWIII which was an Armageddon-like massive world war that happened later (about mid 21st century). Unless they show news broadcasts about it in PIC the Eugenics wars would not be particularly noticeable in the areas they were not happening in, sort of like the real world conflicts in the Middle East.
They already showed in Voyager that they were rather localized despite being quite deadly, and those casualty figures probably include the mass executions mentioned in the show which would have been kept as low-key as the perpetrator could manage and probably only fully enumerated later when the world court tallies up the atrocities.
Character development in NuTrek (don't anyone get in an uproar over the term, I am using it for convenience, not name-calling) tends to be overly convoluted, unrealistically rapid, and all over the place instead of a coherent progression. It fits the action/ melodramatic style of the new shows the same way that it does for other melodramatic shows like soap operas but not normal dramas like the traditional Trek shows.
It is kind of a trend or evolution if you look at it from a very wide point of view, CGI has made eye candy so easy that screenwriters no longer have to be quite as clever about how they script things since the current idea is that the viewers will never notice the goofs and holes in the plot past all of the glorious visuals and action, and the first thing that comes to mind can be done without too much technical difficulty.
And in that kind of high-action, stunt and visual oriented environment melodrama usually works better since it's exaggerations tend to stand out and not get trampled by all of that the way regular drama often does with its lower key psychological foundations, especially since it is the immediate action itself that drives the tension in the currently popular format rather than the more abstracted tension from the plot itself.
TV scriptwriting used to be a form all its own, very different from movie scriptwriting, but that is not so much the case anymore. The trend in the last few decades has been moving towards making nothing but movie style, in effect just making screen-novelette movies (all too often based on the same story kernels as a single episode would have been in the past) broken up into eight or ten installments, often with inane filler thrown in to stretch it.
Another thing that sets off a lot of the more future-fic-history oriented Trek fans (who tend to get very annoyed with rampant revisionism in the false-guise of "progress") is the bait-and-switch feel the above gives. CBS hypes "a return to Star Trek after 50 years" but delivers Fast and Furious in space and a scathing contempt for the era instead of the reasonably serious soft sci-fi series and at least something reasonably similar to the technology and setting they expect from that hype. Traditional Trek and NuTrek are not even the same subgenre of sci-fi.
And before someone accuses me of being some luddite in a cave somewhere that hates anything "new", I do like DSC though I would have preferred on the basis of principle that they had actually taken a serious look at the era they were trying to set the show in instead of brushing it off as "too old to bother with" and using The Undiscovered Country as the basis for the show technology and society instead of actually modernizing the Cage/TOS era stuff. By definition updating something requires starting with what you are updating, not basing it on something that is only similar.
PIC is a little closer to TNG than DSC was to TOS before the time jump, but the writing team cannot seem to get the idea of the "thinking drama" style of TNG to work in the format they are using so it comes out quite flat without the heavy action orientation DSC substitutes for that kind of drama.