10 Things Star Trek: Discovery Season 2 Must Do to Avoid Epic Failure
Season 2 of Star Trek: Discovery is the swing season for the series. These are several directives to ensure this newest season gets it just right.
2. Stay Out of the Mirror Universe!
Enough playing around in the Mirror Universe. Why the writers involved the Mirror Universe at all with the events of season one is still galling.
The story arc was kind of fun, killed some airtime, but effectively eliminated one of the most compelling characters to assume the captains chair, Gabriel Lorca (Jason Isaacs). Never mind the fact we now have a sadistic former Empress Philippa Georgiou (Michelle Yeoh) frolicking in parts unknown.
How one might be compelled to return to the Mirror Universe is beyond this writer’s comprehension and hopefully not on Discovery’s agenda. It’s really been quite enough, even TOS thought as much.
The Franchise History of the Mirror Universe
Lest fans forget, the Mirror Universe was a one-off concept in the second season of TOS and remained dormant until the writers of Star Trek: Deep Space 9 (DS9) decided to pick it up three decades later.
Although DS9 decided to revisit the parallel universe several times during their seven season run, it was done almost purely for the amusement of the writers, and to the eternal chagrin of Andrew Robinson – and its tenure reflected that.
It was nothing less than a joke and never had the critical impact on the main storyline as we saw in Discovery.
Still, the Mirror Universe did make one consequential connection at the end of Star Trek: Enterprise in its final season. Though when did it become a good idea to barrow major narrative concepts from Enterprise?
From its inception the Mirror Universe was an idea from the nethermost regions of the Star Trek universe. It is a shame it did not remain there. One can only hope Star Trek: Discovery season 2 will refrain from building too much further upon it.
Putting the Mirror Universe behind us, the general fate of Discovery as a series rests on its ability to make a unique footprint, and it must be done in a very specific and delicate manner.
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The death of Filmstruck is the latest symptom of our rapidly devolving film culture: This is a look at what we’ve lost, and what lies ahead.
The demise of Filmstruck is a major loss to the world of cinema. If you were to log on to film Twittertm – that specialist ghetto of cinephiles (“or what you’d call film buffs” as Matthew remarks early in the late Bernardo Bertolucci’s The Dreamers) you would realize that many of us are in mourning for a rapidly depleting film culture.
Across the country, most Americans do not have access to an art house theater, and it’s even less likely that they would have access to a repertory theater. Those in New York City can pick their poison between the Metrograph and Film Forum and Village Quad Cinema. Heck they’ve even got the NiteHawk in Williamsburg. Those in LA have the New Beverly. Most of us, however, are just plain out of luck.
Two years ago Filmstruck seemed like the solution. A collaboration between Warner Brothers and the Criterion Collection, Filmstruck was a hand-curated outfit that seemed like film school on a Roku. From Rohmer to Ozu, Sembene to Akerman – world cinema was at your fingertips. You want to spend 83 minutes with Alma from Persona? Sure can. You could check in with Guido Anselmi or Sam Spade or Mabel Longhetti or any of several versions of Orpheus by just pressing a button…and now it’s gone.
A Half Remembered Dream Factory
Every day we seem to forget more of our history. Hollywood is no exception. Often they seem to be leading the way. Hollywood has always been America’s dream factory, and there are some real talented and nice people out there – people who care desperately about movies.
Yet, because of the vagaries of corporate America, and the rush to the all-mighty dollar that capitalism surely compels, Hollywood has become a system that is ruled by puffed-up Harvard MBA’s in slick two-button suits looking for ten percent profit on the next remake.
Now, I don’t really have anything against these people, it’s just that many of them don’t really know or give a lick about the classic days of the industry, the history of world cinema, or even current world cinema beyond their own distribution pacts. They only worry whether their new one hundred million dollar piece of content is going to be allowed to play in China, and whether it will allay some its substantial budget with international pre-sales.
In turn, we have the creation of these monster conglomerates through very big mergers such as Disney buying Fox, or in our case AT&T buying Time Warner, which has led directly to AT&T shutting down Filmstruck.
See, they want to invest only in core businesses that will generate substantial return. This makes complete sense from a business perspective. Except, in the olden days of Hollywood the guys that ran the place, like Louis B. Mayer and Irving Thalberg, saw the picture business as more than just a profit machine. They understood they were creating a product that was intangible – a motion picture, not a widget.
Sure, they were interested in making money, they damn well weren’t commies, but at the same time they were making something near Art and they were passionate about it.
There was a time when it felt like cinema could change the world. In his review of The Dreamers (to circle back), Roger Ebert reminisces that back in ’68, Chicagoans were lined up on the sidewalk in the rain to see Godard’s Weekend. Imagine that now? Wouldn’t happen.
AT&T closed Filmstruck because they believed it was niche. Great cinema like Casablanca and King Kong, The Seven Samurai and Weekend, which all those people lined up for all those years ago, is now just niche content.
What’s the use of going to a movie theater if movies are just content no different from a YouTube video? Hollywood has forgotten its heroes. Cinema seems to have forgotten what cinema is all about – stories that move us or elucidate the world around us – or even sometimes elucidate feelings or emotions so deep-seated they would never stir without that silver-screen mirror.
The last three movies I watched on Filmstruck were the creepy Japanese ghost story Tokaido Yotsuya Kaidan (1959), the vibrantly alive magical realist bossa nova-driven romance Black Orpheus (1959), and Mikio Naruse’s masterful Floating Clouds (1955). Maybe my feeling towards Filmstruck and cinema itself is like Naruse’s lovers’ warmer brighter past in French Indochina – a deeply romantic paradise to which we can never return.
I certainly hope that’s not the case. I hope the future of cinema and the future of repertory streaming services spreads out before us like a mighty bounty.
To ensure this, we all have do our part. Watch movies. Buy movies. All movies. Become cine-literate in everything. Especially the classics.
(Article Continues Below...)
Preservation in the Post-Filmstruck Era
What’s next? The terrific physical media company The Criterion Collection is starting their own streaming channel. Will it succeed? Only if enough of us are interested in preserving our globe’s sometimes shared, sometimes divergent cultural heritage.
Films are doorways into past and future worlds. These stories have shaped us, and allowed a plethora of fascinating cultures to share their preoccupations, hopes, and fears with other, sometimes very different people, in every far-flung nook and cranny of this astonishing world. These dreams, stories, and feelings are too important to be allowed to just fade away.
Please preserve them.
Write to David B. Sporn at email@example.com
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The Man in the High Castle Universe: How the Axis Won WW2
Exactly what the hell went so wrong to create the High Castle dystopia? Second World War historian Paul K. DiCostanzo examines the possibilities.
With the interminable wait for season three of Amazon Prime’s portrayal of Philip K. Dick’s The Man in the High Castle concluding on October 5th, we pose the singular question underlying the series thus far: How could the Axis powers have defeated the United States and its Allies in The Man in the High Castle Universe? The following interpretation is one possible “universe” of Man in the High Castle. One in which we explore the biggest question for most viewers: How the Axis won WW2, or more specifically, “How did the US lose World War II?”
As the show straddles the genres of Alternate History and Science Fiction, the world of High Castle is based on counter-factual history. That being said, the scenario below is projected from historical events that could explain the tragic collapse of the Allies and ultimate rise of the Axis powers.
The Man in the High Castle Universe: What went wrong?
(A stark contrast in the two above maps that mark the conclusion of the historical and fictional WW2)
For an American living in the 21st Century, the victory in the Second World War is even more fundamental to their worldview than even the American Revolution of 1776. It is, after all, the founding story of the modern United States and the rest of the world as we know it.
The concept of the Allies losing to the satanic enemy of Nazi Germany and its Axis collaborators hits home in primordial fashion. It is a concept so deeply disturbing that the dystopia such a defeat would create is generally unthinkable. Yet in the High Castle universe, that is exactly what happened. So, what exactly went wrong in the High Castle timeline?
How the Axis won WW2: The Man in the High Castle Universe Historical Contradiction
In the High Castle universe, many well known events of the Second World War have outcomes clearly contrary to the viewer’s universe. In both the series and the classic novel, details are scarce as to exactly how the Axis managed victory over the Allies.
Putting aside the little information divulged by the show so far – including Nazi Germany’s clear development of the first strategic nuclear weapon – what happened to the Allied nations that allowed this disaster to occur? While there are several distinct possibilities, one must start with the life of one Sir Winston Spencer Churchill.
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Amazon Releases “The Man in the High Castle” Season 3 Date; New Trailer at SDCC
Fans of Amazon’s “The Man in the High Castle” see light at the end of their tunnel, as the two year wait for season 3 is coming to a confirmed end.
San Diego, CA – This weekend at San Diego Comic Con (SDCC), after a seemingly interminable wait, fans of Amazon’s hit series The Man in the High Castle finally have the answer to their biggest question: when is the show coming back? To the audience’s delight, Amazon confirmed that season three will premiere on October 5th, 2018.
To further whet their fans’ appetites, the series’ showrunners also released a new trailer for the upcoming season during their panel at SDCC.
SDCC 2018 & The Longer than Expected Road to High Castle Season 3
Season two of the show debuted in December 2016, after which there had very few indicators of when season three would see the light of day.
In February of 2017 Amazon Prime renewed High Castle for its third season, and filming began in late June of last year.
Additionally first reported by Deadline, Amazon publicly released their order to renew the series for its fourth season as well. No date for its release has yet been revealed.
At this weekend’s San Diego Comic Con, The Man in the High Castle announced not only the answer to the most burning question – thats is, when season 3 will debut – but also shared its first substantive trailer regarding season three since October 2017.
Though only a minute in length, the powerful sneak peak will further stoke the flames for the show’s ravenous fans.
(Article Continues Below...)
New High Castle Trailer: Further Exploration into Science Fiction, and a Mobilizing Resistance
This newest trailer for High Castle season three covers an exceptional amount of ground and leaves the audience with little question as to what the newest installment will focus upon.
The clip depicts further collaboration between Juliana Crain and Hawthorne Abendsen – the so-called “Man in the High Castle.”
Specifically, they are working to combat the Greater German Reich’s experimental weapon which allows them by means of technology to traverse the series’ multiverse; all courtesy of Nazi R&D. This marks the shows most forward foray into The Man in the High Castle‘s science-fiction origin up to this point.
Moreover, it depicts a revitalization of the American resistance against the respective occupying Axis powers Germany and Imperial Japan.
The Man in the High Castle is one of Amazon Prime’s most watched series, based on Philip K. Dick’s novel of the same title published in 1962.
The series is set in the United States, in a fictional 1962 in which the Axis won WWII – and occupying a defeated US.
To enjoy the sneak peek, click at the top to watch the newest trailer for High Castle season 3!
The Man in the High Castle is exclusively available for streaming on Amazon Prime
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