Star Trek - Space: The Final Frontier

[CervixHammer]

They could've just had Cumberbatch play John Harrison, a Section 31 agent gone rogue (or at least that would be the official story until Admiral Robocop starts trying to blow up the Enterprise right in front of Earth), with no connection to Khan. Or maybe S31 could've found Khan, taken blood samples, and illegally enhanced their operatives like Harrison, so they could still have his super-strength or whatever that only Spock could beat.

This would have improved Into Darkness slightly, but they probably still would have had that scene where Scotty flies a shuttle into Space Area 51 and boards the Vengeance without being questioned at all, in addition to a bunch of other dumb shit I try not to remember, so it would still be my least-favorite Star Trek movie (well, tied with the other Section 31 movie). But at least they wouldn't have been able to awkwardly shove Spock yelling "KHAAAAAAAAAAN" in. 0.1 is greater than 0.0, after all.

 

[Captain Syrup]

They could've just had Cumberbatch play John Harrison, a Section 31 agent gone rogue

At this point Section 31 should be disbanded, they almost erased the Kelvinverse like three separate times now with their incompetence. At least on Deep Space Nine they served a purpose. Starfleet was like "it's a little light genocide" because "they're our ghouls and they're keeping the Romulans from fucking our shit up." Bad Robot forgot about the second part. Worse yet, the the heroes seem to have room temperature IQs.

This "flawed and relatable" schtick is just the writers admitting they can't write anyone smarter than your average MMA fan. Disband the writers' room while you're at it.

 

[Ultraman Orb Dark]

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At this point Section 31 should be disbanded, they almost erased the Kelvinverse like three separate times now with their incompetence. At least on Deep Space Nine they served a purpose. Starfleet was like "it's a little light genocide" because "they're our ghouls and they're keeping the Romulans from fucking our shit up." Bad Robot forgot about the second part. Worse yet, the the heroes seem to have room temperature IQs.

This "flawed and relatable" schtick is just the writers admitting they can't write anyone smarter than your average MMA fan. Disband the writers' room while you're at it.

Section 31 is to Star Trek what the Suicide Squad is to DC. Nobody cares about them anymore, but the producers act like fans can't get enough of them.

 

[AmpleApricots]

Some things work better when they're vague and mysterious and sparingly used and will get ruined when there's too much exposition going on. Star Trek did the same to the Borg tbh. But it's not only Star Trek even, it's a thing that happens a lot if writers don't know what to do anymore, because of how tempting it is.

 

[Captain Syrup]

Some things work better when they're vague and mysterious and sparingly used and will get ruined when there's too much exposition going on. Star Trek did the same to the Borg tbh. But it's not only Star Trek even, it's a thing that happens a lot if writers don't know what to do anymore, because of how tempting it is.

There is this short interview with Kubrick on Japanese TV where he admits he didn't want to verbalize what the finale of 2001 actually meant. So he just left it ambiguous on purpose. And then of course the sequel spelled the whole thing out for the mouth-breathing retards.

 

[William Murderface]

Some things work better when they're vague and mysterious and sparingly used and will get ruined when there's too much exposition going on. Star Trek did the same to the Borg tbh. But it's not only Star Trek even, it's a thing that happens a lot if writers don't know what to do anymore, because of how tempting it is.

The Borg might have worked even better had they never been revisited after Q Who (the episode where Q flings the Enterprise to the far reaches of the galaxy to teach Picard a lesson. Just let Picard and the Federation know that their little patch of space with big baddies like the Klingons and Romulans is their comfy neighborhood, but they really aren't ready for what's truly out there. But by that point Trek had stopped with episodes where the ship had met up with gods and unstoppable forces and moral quandaries where there were no winners and a draw was the best we could hope for or our characters fail entirely but learn a valuable lesson in the process. It settled into a comfy alien of the week with no real losses, the occasional SFX shot, and a lot of soap opera.

For me the high point of Trek wasn't TNG or even DS9, it was TOS and the first two seasons of TNG because of the way they episodes were structured. They were essentially episodes that were morality plays But even by the time of those seasons of TNG they were playing it safe and a lot of that comes down to the fact that the best of their writers were driven off by the behind the scenes drama involving Roddenberry, the suits, the producers, and just Hollywood in the late 80s. They left in favor of Berman. But the sensibilities of the 60s with TOS no longer mattered by the 80s and the formatting of shows moved on from the stars and supporting cast to ensemble shows, and sonic wallpaper, and so on.

 

[William Murderface]

There is this short interview with Kubrick on Japanese TV where he admits he didn't want to verbalize what the finale of 2001 actually meant. So he just left it ambiguous on purpose. And then of course the sequel spelled the whole thing out for the mouth-breathing retards.

https://youtube.com/watch?v=zaR2pJjL08g

The novel explained it all when it came out back in 1968 or 69.

I do sometimes get irked with directors who want to tell this grand story, have a ending that doesn't make sense in some way, and then retreat to the trope of "I didn't want to spell out the ending for the audience. Let them figure it out." It just seems lazy somehow or pretentious or something. And there were certainly enough people when the movie came out that left the theater scratching their heads and saying the movie was beautiful but didn't make any sense that makes it seem like it was more than just the smoothbrains who couldn't figure it out.

 

[Hey Johnny Bravo]

Some things work better when they're vague and mysterious and sparingly used and will get ruined when there's too much exposition going on. Star Trek did the same to the Borg tbh. But it's not only Star Trek even, it's a thing that happens a lot if writers don't know what to do anymore, because of how tempting it is.

The only franchise where more exposition works is Tolkien stuff.

It just seems lazy somehow or pretentious or something.

There's a fine line between artsy-fartsy douchery and doing what you're supposed to do with films, which is "show, don't tell."