Review

Before discussing the story itself, the elephant in the room needs to be acknowledged right at the start: this is the third Star Trek prequel in a row and like the others it introduces a litany of continuity problems, perhaps more than ever before. That aspect of the premise is quite problematic, but this review will dwell on that as little as possible, focusing instead on reviewing this series primarily on its own merits, rather than on how it impacts and possibly diminishes the rest of Star Trek's canon. For more on that, see this article.

It is also notable that this is the first Star Trek series to be filmed in a 2:1 aspect ratio. This is an unfortunate choice, as it leaves black bars on the top and bottom of 16:9 screens which are the most common screens this series will be viewed on. This aspect ratio was reportedly chosen to make Discovery "feel more cinematic," which is a strange reason. Game of Thrones is 16:9 and definitely feels adequately cinematic. Wasting 11% of the screen is not how you make something "feel cinematic." Producing good content is.

With that out of the way, The Vulcan Hello is without a doubt the strongest Star Trek pilot so far from a story perspective. This touching and compelling story weaving Burnham's traumatic and quirky childhood with Klingon nationalism is some of the richest drama portrayed yet on Star Trek. This terrific shift in tone for Star Trek is captured brilliantly by the significant departure in the style of the opening theme as compared to previous Star Trek series. This new opening theme is stylized more like a James Bond film than it is like previous Star Treks, and that's a good thing, as this is a different kind of Star Trek; one which grapples directly with the dark side of exploration: sometimes fantastic new discoveries lead to fantastic new terrors. Generations ago, the invention of warp drive led to the discovery of the Klingon Empire and the commencement of a cold war that lasted a century.

This contrast is best captured when Burnham explores the Klingon beacon. She has no idea what it is, nor does she understand the danger it represents, but is nevertheless awestruck by the beauty of its architecture. Her sense of wonder at her discovery is palpable and infectious. And her precocious recognition of its threat due to her personal history with the Klingon Empire, a rare experience during this time period, is a powerful piece of foreshadowing of the danger the Klingons pose to the Federation of this time period. Her explanation of "The Vulcan Hello" also neatly foreshadows how the Federation eventually makes peace with the Klingons: "Violence brought respect. Respect brought peace." That quite accurately summarizes Federation-Klingon relations in the 24th century as depicted on TNG and DS9.

The portrayal of Klingon tribalism and nationalist unification was a particular highlight also. The decision to show lengthy scenes entirely from the Klingon point of view in their native language subtitled was a fantastic way to elicit empathy for them rather than depicting them merely as the violent, savage, one-dimensional antagonists they sometimes seemed like in some past Star Trek productions. Framing their xenophobia as an issue of "self-preservation" and seeing diversity as a threat to their cultural identity evokes powerful comparisons to real life nationalist movements all over the world, both historic and modern. This is a natural fit for Klingon canon and can even be seen rippling across the Empire as late as DS9: Tacking Into the Wind when Ezri Dax confides in Worf that she views the Klingon Empire as dying, and deservedly so; a judgment made in reference to a culture she saw as too attached to tradition for its own good. Worf was uncomfortable with that assessment, but seemed to agree.

Another interesting piece of texture this episode adds to the canon is its potential to clear up some ambiguity surrounding the history of the cloaking device. In TOS: Balance of Terror, Kirk and Spock had a conversation that explicitly stated that cloaking technology is "theoretically possible," and heavily implied that it had never been observed. Star Trek: Enterprise complicated this by depicting both Suliban and Romulan ships with cloaking devices, but it was conceivable given the tone of the show that Archer and crew didn't do a great job spreading knowledge of what they encountered far and wide across human (and later Federation) society. This episode seemingly further complicates this problem by showing T'Kuvma with a cloaking device a decade too early. One way to rationalize this however is so long as it is just T'Kuvma's ship that has a cloaking device and knowledge of this technology is limited to a handful of Starfleet officers, it is conceivable that like on Enterprise, broad public knowledge of this technology does not become mainstream until TOS.

Moreover, T'Kuvma possessing cloaking technology has the potential to deepen the quirky relationship between the Klingon Empire and the Romulan Empire that was established in TOS: The Enterprise Incident. That episode established that the Klingons and Romulans had a brief military alliance, which perhaps stretches back into this era as well. If that is so, it raises some interesting questions, such as did T'Kuvma get his cloaking device from the Romulans, who were already shown to possess an early prototype in Enterprise? If so, it's rather ironic that T'Kuvma, who fears corrupting the purity of Klingon identity by mingling with outsiders, would forge this alliance with the Romulans. We'll see.

Star Trek: Discovery's pilot is not without its flaws, though. For starters, the ship Discovery is nowhere to be found. Given that this is a serialized drama, it seems obvious that the story will get to it eventually, but it seems equally obvious that if you're going to name your show "Discovery," you should find a way to work the ship into the pilot somewhere, at least as a framing device to match the show title. Another rough edge was Burnham's spacewalk. It was pretty contrived to force her out there in a spacesuit. Not having a shuttle "maneuverable enough to navigate the ring" seemed like a pretty weak excuse for that. Similarly, drawing the Starfleet logo in the desert as a plan B rescue plan was pretty campy, as was Saru's hair literally standing on end when he got scared, and frankly the whole concept of an alien species whose magic superpower is to "sense the coming of death" is the lamest thing since Wesley Crusher's sweaters.

We could have also done without Ensign Danby Connor's annoying airline pilot announcement joke, a piece of filler dialog that is so overused in space opera by this point that it's a genuine cliche; one that was never funny to begin with. Likewise the lens flare is an unwelcome aesthetic continued from the Kelvinverse films and while the subtitled Klingon scenes are mostly awesome, the subtitles fly by a bit too fast sometimes.

All things considered though, despite prequel fatigue among most Star Trek fans, this is a strong prequel. It doesn't quite have Rogue One levels of polish, especially with regards to careful treatment of continuity (visual and otherwise), but it comes close and delivers an exceptionally strong story so far.