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But for all the complaints I’ve heard that this doesn’t look like the real to Spock giving a punk rocker the Vulcan nerve pinch, from the grand theater of a tortured Jean-Luc Picard defiantly screaming “THERE ARE FOUR LIGHTS!
” to the silliness of Kathryn Janeway and Tom Paris devolving into salamanders.
(The writers also shield her from the easiest Mary Sue accusations by giving her some deep and apparent flaws, rather than letting her be the perfect quasi-sibling of Spock we just never met before.) She’s also the first franchise main character of any series to not be in command of everyone else (Sisko didn’t make captain for several seasons, but he was in charge of tropes and leaves her in the dark about some of the bigger picture that a captain would be privy to.
And the third episode introduces a potential technological breakthrough that could be more narrative trouble than it’s worth, since it’s more advanced than anything Picard or Sisko or Janeway got to enjoy on shows set a century later.
Michael’s not biologically a hybrid of two species like Spock, but she was nurtured by both.
She allows her emotions to dictate her actions far more than Spock did, but when she’s being a human calculator or breaking down the logic of a scenario, she’s believable, and especially good in the third episode, when events have made her quieter and more guarded.
There are many ways this could go wrong, especially the further away we get from the involvement of Fuller, whose ability to find new approaches to overpicked franchises was the biggest reason to be excited about in the first place.
The Klingon scenes — subtitled, with most of the dialogue delivered in a guttural yell by actors buried under makeup that limits their expressiveness — can be a chore to get through, and the show isn’t always subtle with the Starfleet characters, either.