#dosm

"Man, Discovery is fucking horrible! The only people who like it are fans and family of the production crew!"

"Okay, why is it horrible?"

"It doesn't feel like Trek!"

"How doesn't it feel like it?"

"...um, the captain is insane!"

"Oh, the militant captain in the middle of a war with personal demons to wrestle isn't 100% clear headed?"

"...um, the acting is horrible!"

"Okay, give an example of when the acting was bad."

"...the lens flares are unacceptable!'

"Okay, give an example of the lens flares besides the two exact times it appeared in the pilot."

"... it's nothing but grimdark!"

"Okay, how is it grimdark?"

"The ship has a black alert!"

"That's just a color, and they're not testing weapons to torture or kill people, they're testing a form of transportation."

ULTIMATE COMICS: THE DEATH OF SPIDERMAN #160

(This is gonna become a bimonthy, hopefully weekly, feature.)

Statements taken from the comments section of the Trekspertise review on “Into the Forest I Go”. Watch his stuff, it’s great.

*    *    *

“There’s no philosophy, no personal or even interpersonal conflict in Discovery!”

...That time that Michael fought with Georgiou over the course of action in the face of a highly probable Klingon threat, risking interstellar war, doesn’t count.

That time Georgiou stood up to a fleet of 24 Klingon battleships, remaining faithful in her Starfleet beliefs by sending them a message of peace and dialogue, doesn’t count.

The continuing self-reflection Michael has about questioning the absolute logic of her Vulcan upbringing, the cornerstone of the society that saved her from the Klingons, raised her into a fantastically accomplished and able person, and even once brought her back to life, doesn’t count.

The numerous times Stamets clashed with Lorca over the usage of Discovery as a vessel of exploration and science vs. a vessel of war, don’t count.

The time Saru’s inescapable alarm and anxiety was for a brief moment made still, but immediately threatened by the person who took away the Captain he loved and idolized, doesn’t count.

The moral dilemma that Stamets found himself in, engaging in illegal eugenics to become more in touch with his science while threatening his work, his crew, and his beloved, doesn’t count.

The time Lorca clashed with his superior officer - and a longtime personal friend of his - over the suitability of his command and his purported sanity, doesn’t count.

The struggle of the outcast Voq in his attempts to oppose the elitist Kol by leading the house of his idol T’Kuvma, the only one who had ever shown him hospitality, doesn’t count.

The PTSD of Ash being tortured and raped, and the inspiration he gives Michael over his mental resilience regarding this trauma, doesn’t count.

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