#Discovery for a minute like Culber? Pollard?

[poebrey]

not going to lie as soon as Michael started talking about a first officer my mind jumped to Owosekun and Rhys and when Saru said Booker would make a good XO I was offended on their behalf because the man’s not even technically in starfleet

[lightshiningforth]

I watched Season 3 of Star Trek: Discovery, after putting it off for a while bc I didn’t love the first two seasons. My god. Season 3 is when the show finally, finally finds itself.

I had a litany of issues with the first two seasons, which have certainly been hashed out by fans before but which I will divide into two relevant categories for the sake of discussion:

Being a prequel, the show leaned on, altered, and got bogged down with preexisting Star Trek lore. They changed the Klingons’ iconic looks and made them the villains again. They brought in Section 31 in a role that was far too front facing for what that organization is supposed to be. They burdened Michael’s character with the baggage of being part of Spock’s family, and made the family even more dysfunctional and traumatic than it was in TOS to drive the plot forward. Now, there are plenty of things they did well. The integration of the mirror universe was clever. The uniforms, IMO, were a better pre-TOS imagining than those in Enterprise or AOS. Original content, like the Kelpiens, was beautifully done. Overall, however, the show felt stuck. They couldn’t cover new ground without altering pre-established ground, and those alterations were frustrating.

The show didn’t allow us to get to know and care for the crew. This was especially a problem in the first season, when we spent all of a few minutes with the Shenzhou crew before everything went to hell, and then the rest of the season on Discovery was war and trauma. How were the characters before the trauma? What changed, what was lost? We sure don’t know! And who are these characters now? Yes, we know Michael, Saru, Tilly, Stamets, Culber - they get individual moments, or moments with each other. But everyone else? The rest of the bridge crew? What are their names, what are they like, how do they interact with and feel about each other? We don’t know. It’s all a swirl of faces and bad situations. We don’t know these characters, but we’re expected to feel their pain as they’re pushed into the most extreme, traumatic situations possible. I didn’t even understand that Airiam was human until the episode in which she dies. Suddenly, then, we get a handful of sweet, everyday interactions between her and the rest of the crew. And boom! She’s gone.

But Season 3… what a breath of fresh air. Finally, the show is in the future and free to cover new ground. The Burn, a differently configured Federation, the couriers, the Emerald Chain, new planets, new peoples… finally, finally, finally. Yes, there is still the familiar here. We see the Trill, the Vulcans, the Romulans, the Orions, the Andorians. But the show can do new and interesting things with them in the far future, WITHOUT bucking the familiar lore of Star Trek’s past.

And now that Discovery made a journey alone and together, as just their crew? We KNOW them. There are still characters who get more focus, certainly. Michael, Saru, Tilly, Stamets, and Culber, still. But now I would count Owo and Detmer among them - we see more of their personalities, their relationship with each other and with others, and they become crucial support to the character dynamics and plot. Now Bryce, Rhys, and Nilsson are more to me than just faces in the background - they are finally familiar as fixtures on the bridge.

Characters who are more occasional, like Jett Reno, Lt. Linus, or Dr. Pollard, fall into a different category for me - they were always distinct presences, and I did know who they were. Even so, I feel that they get to stand out more now that the main cast feels solidified, as opposed to before, when we had a blur of the Enterprise crew and other rotating characters cycling in and out.

(Don’t think I’ve forgotten Nhan or Emperor Georgiou, who are both impactful, distinct characters. It’s just that Nhan always felt like Enterprise crew to me, even after her transfer to Discovery, and leaves early in Season 3. Georgiou, meanwhile, is both a not-quite-crew character and plentifully developed from her initial appearance. She was never a mystery to me.)

Also! Book? I ADORE him. I adore his relationship with Michael (FUCK Ash Tyler, this is the romance she deserves). I adore Grudge (she’s a queen!!) (just stop taking her on deadly missions ok it stresses me out).

Oh, and Adira? A treasure! A delight! Ready to join the Star Trek category of “local teen collectively parented by starship or space station crew.”

Anyway. After two whole seasons didn’t resonate with me, I’m so glad to finally be able to say that I like the show. It feels like Star Trek now.

[disco-headcanons]

If Tilly and Michael dress up as Hugh and Paul who is who? Do paul and hugh dress up as Tilly and Michael?

No no,

Hugh and Paul are dressed as Pollard and Reno, jsut to annoy/antagonize them over their “Just Roommates” status (oh my god they were Roommates) while flirting shamelessly with one another.

Who are Pollard and Reno dressed up as? You ask. Tilly and Michael. Bc they’re a pair of “just roommates” *cough cough*

[starfleetdoesntfirefirst]

(Discovery Season 3 Episode 4 “Forget Me Not” Spoilers)

Greetings disco friends, here is my attempt at a fix-it fic.

What I mind most of all was them showing his graphic death scene, whether it’s partially-temporary or completely-temporary, after doing the same with Hugh and Michael’s then-death scenes. As far as the future of Gray's plotline goes (this season and into the next, since we know the actor is filming Season 4), I think there's a chance (especially given that GLAAD was helping them write the storyline) that he'll be completely brought back from the dead like Hugh and a chance that he won't be brought back fully but rather will continue to hang around noncorporeally like he's doing now. But either way, as with Hugh and Michael's graphic then-death scenes, that doesn't change the fact that they showed that in this episode.

I think I've reached the point of hard 'no’ on continuing to watch the show myself. (Though of course I completely support y’all in watching or not watching the show, as works for you!) And I’ll still be around here, writing fic based on Season 1 through to this episode.

Also, I’m currently brainstorming ways to put something affirming into the fandom this season while not watching, since I won't be writing fix-it ficlets and…obviously I know no one ~depends~ on my fix-it ficlets, but this community means a lot to me and I guess I want to feel like I'm putting something into the fandom even as I'm (aside from continuing to make content for older season stuff) walking away, if that makes sense? (Maybe some book giveaways of sci-fi books with trans characters, tho that may or may not work logistically/financially, or something like that.) Please let me know if you have suggestions! <3

Dreampt Of More Things

Other, F/F, M/M | Teen And Up | Chose Not To Use Archive Warnings | 2,600 words

ao3 link in a reblog since Tumblr still seems unpredictable about when posts with links are allowed in the tags

and/or, full fic + tags here:

Tags – Jett Reno, Jett Reno’s Wife, Michael Burnham, Hugh Culber, Ellen Landry, Philippa Georgiou (original Captain version), Adira Tal, Paul Stamets, Gray Tal, Sylvia Tilly, Tracy Pollard Adira Tal/Gray Tal, Jett Reno/Jett Reno’s Wife, Ellen Landry/Amna Patel, Hugh Culber/Paul Stamets Grief (Ellen’s) and mentions of Lorca, no serious injury since again we are sidestepping that but very brief description of Adira’s joining surgery, Gray Tal Lives, Jett Reno’s Wife Lives, Philippa Georgiou Lives

Note: This is not an Amna Patel Lives universe (Ellen Landry’s fiancée from Star Trek Online), as I am Making A Point about how no, it’s not that queer stories about loss and grief are bad or that I personally don’t want to write/read them; it’s about context, and how many characters have died over the course of your franchise, and the nature of your franchise, and what to portray versus not portray onscreen (in the context of your show), and how you’ve advertised your characters, and reading the room.

***

“Burning the midnight oil, huh?”

Jett looks up as Michael steps closer to her workbench in the corner of Engineering, raising an eyebrow, as Michael had known she would.

“Here to check my work on your outfit, Commander?” she asks, laconically, before bending her safety-goggled face back to her work.

Michael grins despite herself as she pulls out a chair opposite Jett. “I’m entirely confident in your work, Commander.”

“So you’re here to pester me because…?”

“Because I’m curious to see the work-in-progress. And, more importantly, because I ran into your wife on her way to turn in for the night, and she told me to tell you that she’s taking you out on a fantastic date when all this is over.”

“Where’s she think she’s gonna scare up a place to go out on any kind of date in the ass-middle of the 32nd century?”

Michael grins again. “I think it was a ‘looking for a way to take my wife on a fantastic date and if I cannot find one I will create one’ kind of thing.”

“Yeah, that tracks.” Michael can hear the smirk in Jett’s voice as she fiddles with the wiring on the angel suit’s chestplate.

“Don’t stay up too late, Commander,” she says as she stands. “We’re still gonna need you on shift tomorrow.”

Jett grunts in acknowledgement, and Michael smiles as she walks past the spore cube and towards her quarters for the night.

***

“How are you doing with all this, Landry?” Hugh ventures, after a few days of deliberation, when he and Ellen have a quiet moment alone together at the end of a meeting.

Ellen takes a minute before answering, dropping a PADD into her bag. “One of my security lieutenants said it seemed implausible that we’d be able to find a way to send Burnham back in time, once again, especially with the way the Burn affected ability of the time crystals on Boreth to interface with the suit even if we are granted one.”

Hugh raises an eyebrow and waits, silent.

“I told her that if she thought implausible was going to stop this crew, she must've not been paying attention to half the weird shenanigans they’ve pulled off.”

Hugh smiles wryly. “‘More things in Heaven and Earth than are dreamt of in your philosophy,’” he quotes.

Ellen gives him a look, and he holds up his hands in surrender. “Maybe I’ve been spending too much time around this ship’s surprisingly high number of Shakespeare fans.”

“And we’ve already dreamt of more things, haven’t we?” Ellen asks simply, pausing and leaning a hip against the table. “At this point, it’s just a matter of choosing philosophies.”

High raises an eyebrow again. “That's an interesting way of looking at it, Commander.”

Ellen folds her arms. “Yes, thank you, I am a font of excellent observations, at least when I’m not busy misreading dipshit captains and making the worst choices in the universe. You can stop giving me the sympathy look, by the way.”

Hugh watches her, silent.

“Yes," she tells him in a sing-song voice, "I have in fact experienced one or two emotions while helping prepare for a mission to bring someone back from the dead and knowing I can never bring my own fiancée back.” Her tone drops back to a flat command. “The only person in my, this, situation who actually deserves your sympathy is Amna, and she’s not here to receive it. You’re a busy man; you’re needed all over the place. Go do something clever and medical somewhere.”

Hugh watches her for a moment longer before he says simply, “I’m so sorry. For your loss.”

“Don’t. No.” Ellen’s voice is firm, though without rancor. “Those words are not for me. I am not a good widow. Do you understand that? Instead of honoring my fiancée in any substantive way, I went off and got manipulated by some dipshit. And what’s worse, if it hadn’t been for the manipulation and the secretly evil part, I might not have ever figured out to regret it. Do you understand that? Can you understand that? You’re a good person. Your partner is a good person. Do you know what it is to not just not be able to save her but to get even grieving wrong?”

For a long moment, Hugh considers what to say.

“I think your actions in helping Lorca were wrong,” he says. “I don’t think it’s possible to grieve wrong.”

Ellen, eyes dubious, grunts in a way that could be dismissal, acknowledgement, or something in between.

“Take care, Commander,” Hugh says quietly, heading for the door.

He is nearly in the hallway when Ellen speaks.

“This is part of hers.”

Hugh pauses, turning to face her again. “Hers--?”

“Amna. This mission would have been part of her philosophy.” Ellen’s lip twitches in what could be the shadow of an exhausted smile, voice still blunt and the expression in her eyes still characteristically direct. “Without question.”

***

When Georgiou returns from Boreth, she discovers that Adira has slipped down to the shuttle bay to meet her.

“How did it go?” they ask, hesitantly, eyes wide with some unknown emotion.

“Successful,” she tells them, as the two of them make their way out of the bay together. She pats one strap of her pack. “We now have a time crystal.” Given that Gray’s life rests on having a crystal to power the suit, it’s unsurprising that Adira has been worried.

“No, I mean—I knew you’d be able to do it,” Adira tells her, as if this is obvious, a trust and confidence in their eyes that makes Georgiou’s heart ache. “But, I just, I do talk with the rest of the crew, and they talked about how Pike was so f—messed up by whatever he had to go through to get the crystal, like it was really really…bad. And I just—” They stare at their feet as they walk, sneaking a quick glance sideways at Georgiou. Georgiou knows she probably looks like shit. “If I’d never come to this ship, you wouldn’t have done that for Gray. For us.”

Georgiou stops walking, turning to face Adira, and Adira watches her, their face pinched and anxious.

“Listen to me, Adira.”

Adira nods.

“This might not be something you fully, truly understand until you’re an adult yourself, but when kids are hurt or in danger, it’s us adults' job to protect you. That’s one of the most important parts of being a caring adult Human. Caring adult person,” she corrects herself. “Maybe the most important thing.”

Adira nods uncertainly.

“Saving Gray is the most important thing right now,” Georgiou says gently, as the two of them resume walking. “To all of us. You arriving on this ship was a very, very good thing for so many reasons, Adira. Saving him is one of them.”

“And that’s a go, Burnham!” comes Paul’s voice in Michael’s ear, and she launches herself upwards from Discovery’s stationary hull, the soft interior padding of the red angel suit once again surrounding her as she hovers in space, programming her coordinates.

“Jump commencing in thirty seconds,” she reports.

“Take good care, Commander,” Paul says, his voice gentle in her ear against the silent cushion of the vacuum around her.

“I will.”

A pause of a few seconds. “Adira says ‘good luck.’”

Michael can picture the two of them as they were when she flew out of the shuttle bay, Paul standing at his portable console in the shuttle bay's cobbled-together mission control, one arm around Adira.

“Tell them—” Michael swallows. “Tell them thank you. Tell them that I’ll—tell them that we’ll be back soon.”

“I will.”

The countdown completes, and Michael falls forward into a bright shower of instants.

***

Outside the generation ship, Michael shifts reality out of the timeline with a wave of one Jett-Reno-enhanced suit hand, glancing at the two figures inside the viewport in front of her before tractoring the asteroid off its course. After confirming its trajectory away from the ship, she punches the personal transporter on her chest, materializing inside.

Gray and Adira startle, each making as though to stand protectively in front of the other.

“I mean you no harm,” Michael says quickly. “And you’re both going to be safe. I am going to make sure of that. My name is Michael Burnham, and the next year is going to be very difficult for you, Adira,” she continues, feeling the words tumble from her lips as quickly as she can say them, “but I want you to know that when that year is over, you’re going to see Gray again. Gray,” she says, holding out the unpowered exoskeleton of a second timesuit, “I need you to put this on and come with me.”

Gray steps closer to Adira. “What? No, I—”

“Your name is Gray Tal, and your last name was Senna Tal, and when he was a child his favorite thing to do was to read books to his collection of plush tribble toys,” Michael says.

Gray’s eyes widen. “That’s—“

Michael continues, rattling off former Tal host facts as quickly as she can, before explaining, also as quickly as she can, about the asteroid they’ve just seen her deflect, and the symbiont, and the Discovery.

“Adira needs to have the symbiont,” she explains, “in order not to cause a time paradox. But the modified time crystal in my suit will allow me to shift you—” she nods at Adira—“back into the real timeline in time for the medbots to give you the symbiont. I just need to do it at exactly the right time, so that Gray doesn’t actually die, and you snap back just as the medbots are holding the symbiont.” Do medbots hold things? Hover them? Whatever; she’s getting the point across. And Gray is putting the suit on.

“Luckily, my amazing crewmates have worked out all the timing,” she continues, “so I just need to transport us back outside and then snap the timeline back to the right instant. And, yes, there will be two Tals in the galaxy when you see each other again and I’m sure that will make things very interesting. Ready to go?”

She holds out a hand, and Gray takes it. “I love you, Adira,” he says, as Michael reaches for the transporter.

“I love you too—” Adira says, and Michael and Gray reappear meters away in space. Adira is standing watching them, and standing watching them, and then with a motion of her hand Michael slams them back into the timeline and Gray puts a hand to his mouth over his suit visor as he watches the medbots complete the surgery and place a blanket over Adira, flying the newly-joined Human slowly away down the hallways and out of sight.

“You’ll see them again,” Michael whispers, “in just a minute.”

“Them?” Gray sounds puzzled.

Oh, right. Well, in just moments, there will be ample time for explanations. “Adira. You’ll see Adira, who’s going to be so very, very happy to see you. It will have been a year,” Michael adds, as she pulls up the angel suit controls, “and Adira is going to be so glad to see you again.”

They fall forward into sparking and sparkling time together, and all at once they’re dropping back into the timeline, floating easily in the vacuum in front of Discovery’s shuttle bay.

“Ready?” Michael asks.

Gray nods. “Yeah. I mean—of course I’m ready. I’m ready.”

Michael smiles, floating them into the bay as the forcefield ripples obligingly to let them enter and landing them both on the smooth floor, steadying Gray as his feet make contact.

“Gray?”

Adira is pressing their own hand to their mouth as Michael and Gray release the visors on their suits, and then they take a step toward him, staring as though they don’t quite believe he’s real.

“It’s me,” Gray says quietly, smiling nervously at them. “I’m here.”

This appears to be all the encouragement Adira needs to dash forward, wrapping their arms around him. He hugs them back, eyes closed as he buries his head against their shoulder. Adira is smiling and crying at the same time.

“I’m here,” he whispers to them again.

Michael steps away from the two of them, leaving them to it, and Sylvia hurries forward to wrap her arms around her. “Welcome back, Michael,” she says.

Michael hugs her for several long seconds before releasing her to accept a hug from Philippa and then a pat on the back from Paul as Tracy steps forward to scan her with a medical tricorder. “No adverse effects of the jump,” she reports, smiling.

Hugh is stepping over to do the same for Gray as Gray and Adira finally—though, Michael suspects, temporarily—pull apart. Paul echoes his motion, heading for Adira and rubbing their back before wrapping a supportive arm around their shoulder as Hugh reports that Gray is fine as well and the two teenagers grin exhaustedly at each other.

Michael watches the four of them for another moment, smiling, before turning to glance at the place where Ellen stands at her own console, studiously powering it down. Her eyes flick up just briefly toward the reunion in front of her before she lowers her gaze again, turning and slipping out the doors of the shuttle bay. Michael catches Tracy’s eye, and the two of them walk after her as Sylvia steps over to power her and Paul’s consoles down in turn and Philippa begins the process of packing the rest of mission control up.

***

At 20:00 hours in an undisclosed location on the starship Discovery, Jett’s wife leads her, eyes closed and complaining happily, into a room that has been decorated to a degree that resembles an explosion in a paper snowflake factory, while a few decks up on the bridge, Philippa settles into the captain’s chair for the night shift. Tilly climbs into bed, pulling out her PADD with its book on 30th century Earth, and at the table next to the viewport in Discovery’s rec room, Michael and Tracy sit beside Ellen in silence, keeping her company in her complicated grief. Hugh hums to himself while he brushes his teeth, and Paul yawns as he finishes slipping on his pajamas, stepping forward as Hugh sets his toothbrush back in its holder and wrapping his arms around him, humming deliberately off-key. He garners an eye-roll for his trouble, and two decks down, Gray and Adira sit in Discovery’s mess hall, gazing into each others’ eyes as Adira lapses into silence after explaining how Paul found them in the Jefferies tubes in orbit over Earth.

“You’ve had so many adventures all this time,” Gray says, grinning. “Adira Tal.”

Adira half laughs, shrugging one shoulder. “I guess so.” They look up at him. “I think my adventures are about to get even weirder, Gray Tal.”

Gray grins again. “You know, I didn’t think I or anyone I know was ever going to have the chance to visit the pools. What was it like?”

“Yes, I suppose you would have to ask me what it’s like, since it’s one of the memories we don’t share,” Adira comments with a mischievous grin of their own.

Gray laughs, shaking his head, and they beam at each other in shared exhaustion and confusion and joy as Adira begins their story and the Discovery floats onward through the night.

[douxreviews]

Star Trek: Discovery - ‘Such Sweet Sorrow, Part 2′ Review

"Let's see what the future holds."

By nature I love brevity: Star Trek: Discovery delivers on the promises of the season in its dramatic finale that warps off into Season Three ready to try something new. My predictions were mostly correct, with a few surprises. Some of those surprises were substantially more welcome than others.

Last week's episode made us a whole lot of promises and set up a lot of things to happen here. All the emotional stakes of that episode hinged on the fulfillment of those promises and set-ups, though, so no matter what, if they didn't follow through we were going to feel cheated. I went into this finale with a small bit of trepidation that they might fake us out and not deliver, but those fears were happily quashed. If nothing else, I want to applaud the show for delivering on its promises, and for doing so in a way that provided entertainment and diversion for an hour and left me feeling mostly satisfied.

But, of course, I do have to talk about what went wrong. Most of this episode's problems, and indeed the whole season's problems, are the result of logical inconsistencies. For example, if they had a map of the red bursts the whole time, why couldn't they figure out where each burst was going to appear? Even if they didn't know which burst corresponded to which one on the map, after the first three they should have known the location of all seven. That was the main thing about the season as a whole that bothered me.

The biggest and most egregious problem in 'Such Sweet Sorrow, Part 2' is the entire situation involving Cornwell and the torpedo. How contrived can you get, really? This seems to me to be the most stupid and pointless sacrifice since Captain America: The First Avenger, and it's certainly the dumbest thing this show has ever done. I can't even begin to fathom why anyone would think that little tiny door could do anything at all when we were told it would take out four decks/half the ship. If the door is so powerful, why isn't the whole ship made out of the same material? How is the window still intact after the blast? For that matter, why the actual heck did they put a window in a blast door? Even the reason Cornwell decided to stick around in that room with the torpedo was hopelessly contrived. Pike made some very good points about time travel and his future, and she dismissed them for no reason at all. Very disappointing and completely unnecessary. Jayne Brook and Admiral Cornwell deserve way better.

The second major issue involves Controlland and his death. First and foremost, if the Control AI was destroyed when Georgiou killed it, why do they even still need to go to the future? If destroying Control was as easy as magnetizing a whatever for a few minutes, why not focus your efforts on that rather than the time travel stuff? They even had a golden opportunity to solve all these problems and bring back some nice continuity at the same time. Why not just have Georgiou use the spores to send Controlland somewhere else, like Lorca did with Burnham way back in 'Context is for Kings'? Plus, the magnetizing the whatever solution is really dumb and sounds contrived.

All this makes it sound like I hated 'Sorrow II.' I didn't. It was largely entertaining, and despite those two major things that grated on me and a few other minor gripes, the finale did its job well. It managed partly to earn the melodrama of 'Sorrow I' and to wrap up the season's arcs in a neat and tidy manner. Let me dive further into the things I liked.

Firstly, Olatunde Osunsamni's direction was on point this week. His stylistic, swooping camera and weird, dynamic directorial choices are actually really well-suited to big action setpieces like this one. While I may not like his apparent vow to never allow the camera to be still at any moment, even in dialogue or other low-energy sequences, Osunsamni gets to infuse his energy here into a show that warrants it. On that same note, all the action was quite good and interesting to watch. The production values on this show continue to be absolutely through the roof, and it works really, really well.

I also loved, though it can very easily be dismissed as fan service, the ending with Pike, Spock, and the Enterprise. The show is certainly leaning into fan hopes for a show centered around them, for no clear reason. Clearly, they could very well do something like that, and it would be highly anticipated and probably very well received. It's ultimately up to the producers, but I really think that if they do intend to do it, it will have to be really far down the pipeline. If it were coming in the near future, we'd have heard something of it by now.

The portion of the end that deals with Discovery's supposed breaches of canon was a long time in coming. I think I'd made my peace that time travel would fix it all about a month ago, so bringing my feelings about it back is a bit difficult. If the writers had all this planned from the beginning, then kudos to them. If not, then at least they found a decent way to fix everything they'd broken. One of the things that's in the grand tradition of Star Trek is taking mistakes and discrepancies and using them for the benefit of later stories, so I'm quite pleased that this occurred here. Did they have to force it because it was necessary for the show? Yes. But let's not lose sight of the fact that it was necessary for the show.

A few surprises lurked in this episode, even though the resolution went more or less as anticipated. The first of these was that Georgiou was on the Disco as it went off into the wild blue yonder. I had expected, since Michelle Yeoh's Section 31 series is coming, that Georgiou would be left behind in the past in light of that. Not so here. This raises many questions about that Section 31 show, what Yeoh's role in it will be, and how she will play into DIS Season 3, so many that I won't go into them all here. Suffice it to say, I was surprised, and I will be interested to see where it goes from here.

Secondly, I was surprised at the arrival of everything the rest of the season had done, now coming back to help the Disco accomplish its mission. Although I suppose everything did have to be a part of a grand design like Pike and Spock have been saying all along, I was not expecting Siranna and the Kelpiens in particular. A nice touch, certainly, as was the timely arrival of L'Rell and her Klingon armada. Speaking Klingon under heavy makeup does tend to work much better when it's being yelled angrily at one's enemies in the heat of battle than it does when discussing Imperial politics while sitting at home. Plus, Mary Chieffo got to say 'Today is a good day to die' before the show left her behind.

So overall, I think I liked it. It did what it needed to do, and not a whole ton more. What more it did was mixed material, but so is this show in general. I left it feeling satisfied, and even excited for the road ahead. Take her out, folks. Let's see what she can do.

Pensees:

-Holy crap, that's a lot of shuttles. Voyager's jealous.

-I half expected Reno to die, and Po to go to the future. I'm not sad that those things didn't happen, though.

-Keep on being sassy as heck, Dr. Pollard.

-I thought Burnham and Spock's goodbye was just fine the first time, in the shuttlebay. At the end of the episode it was terribly overdone, although Ethan Peck did his darnedest to help it along.

-Is Anthony Rapp's return to the show for Season Three in doubt? They left his life still in danger at the end of the episode. I hope not; I like Stamets. His resolution with Culber felt a little out of place amid the chaos of the episode, though.

-Lots of visual cues to Star Trek: The Motion Picture in this episode, from Burnham's travel through time to the same streaky-light wormhole effect when the ship does the same.

-That really is a dang useful blast door. Voyager's jealous.

-Number One STILL doesn't have a canonical name. Why couldn't she just have given it in the debriefing scene. It's not hard!

-So Tyler has been made the head of Section 31 for now. I guess that means he'll definitely be in Yeoh's series, right?

-Clean-shaven Spock in uniform was great to see, and the shot that panned out from the bridge to the ship in space was a definite nod to 'The Cage.'

-Props to Jeff Russo for his awesome mix of the classic TOS theme and the DIS theme. I really like the music of this show in general.

Quotes:

Po: "First, I invoke diplomatic immunity for stealing this shuttle."

Reno: "I'm going, I'm going! Get off my ass! Sir! Get off my ass, sir!"

Saru: "Promise me you'll be safe." Everything: *continues exploding*

Burnham: "So you're asking me to take a leap of faith." Spock: "One that is only logical."

Controlland: "Where's my data?" Nhan, searching for the most useless response possible: "Hell!"

Controlland: "This doesn't have to be this hard!" Georgiou: "Not hard is boring, and I hate boring."

Number One: "Plans A and B didn't work. This is the Hail Mary part of the operation."

Burnham: "Find that person who seems farthest from you, and reach for them. Reach for them."

4.5 out of 6 really useful blast doors.

CoramDeo is a reviewer, not a bricklayer.