Babylon 5 CW Reboot 2022: What We Know So Far, Season 2 Confirmed

Following the recent announcement by Deadline that a Babylon 5 reboot is now officially in the works (as originally broken some time ago right here) at the CW, details are sparse, but we have some initial news that has gotten everyone at CrudeReviews really excited.

Described as a “from-the-ground-up reboot” of the classic science fiction show, the new ‘Babylon 5’ is now back in the hands of its original creator, J. Michael Straczynski. This news comes as breath of relief for B5 fans, who had previously worried about the direction the new show might take under the helm (no space station pun intended) of Zack Snyder. However, with JMS, as he is known, back at the rudder (okay, that pun was intended) it seems like the show’s future is returning to safer waters (you got us again, that was another deliberate space station pun).

The original show, known for its riveting personal and political drama, gained the love of its fans though sharp writing, tight dialogue, and a willingness to grapple with social issues that are all too real. Following on in this legacy, the reboot’s lead writer J.J. Abrams (‘Lost’, ‘The Cloverfield Paradox’, ‘Star Trek: Into Darkness’, ‘Star Wars: Episode IX: The Rise Of Skywalker’) had this to say:

“We really want to honour the incredible pedigree set by the original show. It existed in such a rich, diverse universe, full of intrigue and political commentary, and I think that really opens up the possibility for some truly outstanding action scenes and complex mystery plots. We really want to capture the original spirit, the essence of jumping from intense fight scenes to equally-intense exposition scenes about head-scratching plotlines involving parallel universes and secret maps. That’s what we want to bring to all the old fans, what they’re really looking for.”

J. J. Abrams, newly-announced Babylon 5 Lead Writer

Abrams would not be pressed for further details, but he did say that he and JMS were being guided by the enormous successes of the last few films Abrams had written for.

A few snippets about the new show’s cast were also revealed, hinting at a change in course for the reboot. Previous announcements, including Mark Wahlberg in the lead role and Melissa McCarthy in multiple supporting roles, seem to now be outdated, and a new roster shows us what we can expect:

The cast revealed so far – other major roles, such as Delenn, are yet to be announced.

That’s an exciting list of some very big names. This will be Charlie Day’s first major return to television after ‘Always Sunny In Philadelphia’, and the small screen is familiar territory to veterans Chris Pratt and Keegan-Michael Key of ‘Parks & Rec’ and ‘Key & Peele’ respectively. Anya Taylor-Joy has mostly found success on the big screen, with the very notable exception of ‘The Queen’s Gambit’, which was particularly well-received by critics and audiences alike. For Seth Rogan Jack Black, the rebooted ‘Babylon 5’ will be their first experiences as lead cast members in a major TV show.

It is unknown if any of the cast members of the original show will make a return, either as cameos or as their old characters. However, fans have expressed special enthusiasm to see some familiar faces, and it wouldn’t be a classic reboot without at least a few winks to the audience.

The CW seems eager to reassure us of the quality of the series, however, and has announced its first two (three) directors, each to direct two episodes in the first season: Rian Johnson (‘Knives Out’, ‘Looper’) and directorial duo Lord & Miller (‘The Lego Movie’, also with Chris Pratt, and ’22 Jump Street’). Johnson had this to say when asked his thoughts on the original show and his plans for the reboot:

“I haven’t seen the original show, actually, and I’m probably, y’know, I probably won’t at this point, I think as creators it’s so important that we come to these projects fresh and without preconceptions. I don’t know what kind of ship Babylon 5 was, or where it was going, my focus is on really engaging with the audience and giving them something they won’t expect, y’know. […] At the end of the day, success for me is delivering two episodes that leave the audience either hating them, or loving them, but nothing in between, y’know, that’s how I measure success.’

Rian Johnson, director of episodes 3 and 4 of the new ‘Babylon 5’ reboot

EDITOR’S NOTE: Since the time of writing this original story, we have been informed that Lord & Miller will no longer be directing the first two episodes of the new show, and that Ron Howard has instead been hired to direct the opening two-parter.

Besides that, we have a couple of initial shots of the new show, though whether these are primary concept art, early renders, or actual stills is yet to be confirmed. First up, the new Star Fury space fighter, with its classic cross-wings for added maneouvrability:

The new Star Fury, lightly-reimagined for the new show.

Next we have a close-up shot of what could be the eponymous station itself:

Possible radically redesigned Babylon 5? Or something else altogether?

There have been some shots of costume tests for the revamped Narn. It is unknown if the makeup effects shown here are final, but it gives a good indication of the new, updated aesthetics for this iconic species:

Narn costume tests.

This piece of concept art was also released, showing a possible scene for the reboot, or potentially just a “look and feel” piece for the new show. It is unknown if the station pictured is intended as concept art for the station itself:

Orbital Battle Concept Art

And finally, this shot, simply titled “Mr Morden”, hints at the darker tone for the reboot:

“What do you want?”

Sadly, that’s all the information we have for now, but check back regularly, as we’ll be reporting on the new Babylon 5 show as more news breaks! And be sure to Like and Subscribe for constant up-to-date news, features, analysis, opinions, commentary and content from here to infinity!


SPECIAL UPDATE: It’s just been announced that, following the roaring success of season 1 of the ‘Babylon 5’ reboot, still in production, season 2 has just been greenlit! Producers at The CW cited the “extraordinary reception and critical success” as the reassurance they needed to confirm a second season for “a show that isn’t even out yet,” further clarifying: “Of course it’s getting a second season before we’ve even finished casting for the first season, this implies the assurred success of the first season and proves to everyone that we won’t shit the bed and make a bunch of horrible mistakes that the fans will hate. Announcing a second season before the first season has even been filmed is standard procedure, and provides all the proof our paid-for social media bots need to argue that the show is actually really good and the people who hate it are just Conservatives or something.”

‘Star Trek: Discovery’s Season 2 Premiere ‘Brother’ Jumps The Shark By Being Pretty Good, Actually

Having just finished ‘Brother’, the first episode of ‘Star Trek: Discovery’s second season, I can confirm that my entire identity as a blog writer has been shattered.

I didn’t hate it.

This is a chaotic “first impressions” article as I pull my thoughts into coherence following a surprisingly enjoyable experience. I’m going to follow it up later in the week with a more cohesive look at what we’ve seen so far and where it fits within the show, as well as some of the “meta” problems that sit around it.

First, though, stray observations:

  • “Sometimes it’s wise to keep our expectations low, Commander. That way we’re never disappointed.” – Now that’s just not fair. If the show’s going to make fun of itself, then all the joy of doing so is gone for me.
  • Vulcan interior design! Brought to you by Ikea!
    • At first I thought Sarek’s home looked horribly un-Vulcan. Then I realised “Duh! Of course it does! He’s the Vulcan ambassador to Earth, this’ll be in North America somewhere!” Then Amanda promises to take Michael to Earth, where she’s never been, and I groaned with frustration.


  • Tilly has somehow forgotten every bit of character development she had in the last season and is now back to being disturbingly awkward and socially incapable.
  • Airiam, still the ship’s third-highest ranked officer, doubles her line count TO DATE by speaking her name. And then triples it when talking about a power cable.
    • Also, I can only assume that her first name is “Lieutenant Commander”, or she just ignored Pike when he asked them all to forget their ranks.
  • Pike and the Enterprise crew got the new uniforms (although he still changes into the old DISCO-style ones at the end of the episode) but hasn’t Discovery literally just left Earth? And Enterprise has been on its mission? So, why didn’t Discovery’s crew get the uniforms before they left? How did Enterprise get them first? Ah, whatever.
  • Detmer and Owosekun get lines! Multiple lines! They even talk to each other! Such progress! It is 2019.
  • “Red thing! Where’s my damn red thing?” How did you become a captain exactly, Pike?
  • The “interstellar asteroid” is travelling at “5000 km/s”. Voyager 2 is currently travelling at roughly 16 km/s. Which means… no, that actually checks out. Wait, did ‘Discovery’ just get a science measurement roughly correct?
  • One of Discovery’s design features is apparently “telescopic cameras,” and the line delivery implies that this is a non-standard feature. That’s right! Starfleet’s most advanced ship has reached an equivalent technology level to 1960’s paparazzi!
  • They then have to get Saru to look at the crashed ship’s registry with his superior eyes because this is ‘Discovery’ and all prior information is rendered null and void as soon as we cut to the next shot.
    • Which… he’s looking at an electronically-enhanced image on the viewscreen anyway, so… what, do his eyes multiply the pixels on a viewscreen? Guy could’ve been a champion professional gamer in that case.
  • “Really? Are you surprised?” asks Saru, as a bridge officer looks at his extruding threat ganglia. Well, yes, actually, Saru, your bloody threat ganglia never shot off all those other times you were about to die in Season One, so, yes, I am pretty fucking surprised.
  • Also, Saru briefly transmorphs into C-3PO for some “The odds of surviving…” banter.
  • I adore Commander Reno and I would like to have her babies – and she seems to have the capability to make that happen biologically. She had better be a recurring character or I may have to take drastic action.
  • Michael’s helmet-hair is adorable.
    • And, I know I’m trash, but I still really miss her lovely fringe (or “bangs”) from ‘The Vulcan Hello’. That was such a nice hairstyle on her.
  • Apparently, the first couple of episodes of this season blew more than half the budget for the entire season, and with Burnham’s desperate escape from the exploding wreckage, I can see how. Jesus, that was an extravagant scene.
  • There’s problem-solving! And obstacles to overcome! What is this, a Star Trek show all of a sudden?
  • Poor old Enterprise, busted up and being towed home. Farewell, sweet princess, we shall see you at some plot-convenient point later, I can only assume.
  • There were NO LONG, POINTLESS FIGHT SCENES. Hell, there wasn’t even any shooting! It’s almost as though compelling science fiction doesn’t need people stabbing each other to be good.
  • Spock’s quarters aboard the Enterprise have some lovely little nods to the old sets of ‘The Original Series’. Those brass circle-pattern screens particularly.


Right, that’s enough bullet points. Let’s get down to business.

What’s Going On?

Good question.

So, despite the Enterprise flying up to Discovery at the end of last season under its own power and with all its lights on, in the time it takes Tilly to be a bumbling dickhead apparently Enterprise shuts down completely. Almost as though the writers had no idea what they were doing last season and just jammed the Enterprise in at the end for a fanservicey cliffhanger.

But that’s okay, because Pike says the Enterprise was sent here to take command of Discovery. Even though the Enterprise’s systems were down so completely that they could barely transmit their registry number, they nonetheless conversed with Starfleet Command, located on Earth, from where Discovery had moments earlier departed, and got orders to intercept Discovery on her way to Vulcan, despite all her systems going completely offline with no explanation at some random point, and, with her systems still offline, flew up to Discovery, broadcasting a Priority One distress call, but then died completely, but they still picked up the colourful new uniforms along the way, and then…

I’ve lost track.


Look, the first half of this 60-minute episode is a mess. In fact, that doesn’t do it justice. It’s a complete fucking Kurtzman is what it is. A massive steaming Kurtzman, with a magnitude of about 16.3 Lindelofs.

None of it makes sense, and it seems like there were a lot of re-writes and re-shoots to make it even nearly comprehensible. None of the writers really seem to know how to get Pike onto Discovery to achieve the appropriate level of fanservice demanded by their studio overlords, so they just keep throwing plot points out like narrative diarrhoea in the hope that the audience will gloss over it all and just keep drooling into their laps.

They also, clearly, have no idea of what to do with Sarek, as he has a moment with Burnham where he explains that he’s going to leave Discovery as soon as she drops out of warp, but then they drop out of warp into a Dark Matter debris field and immediately get the shit smacked out of them but Sarek still never appears again, but we never see him leave, so didheleaveordidhestickaroundforabitandwherewashisshipdidhetakeashuttleorIdon’tknowwhat’sgoingonpleasehelpmeJasonJasonJasonJasonJasonJasonJasonJASONjasonjasonJasonJASonJasonJaSON.

Let’s move on.

Commander Reno

Ah, Commander Jet Reno.

Just like Captain Georgiou before you, you are FAR too good for this show.


First off, “Jet Reno” is the best name ever.

Second, God damn you are one competent motherfucker.

I’m a bit skeptical of “the body’s just a machine and I read a lot” explanation for an engineer carrying out BRAIN SURGERY but y’know what? Fuck it, maybe she’s just that smart. I love her. I love her so much.

She responds to Pike’s “You stayed behind?” with exactly the right amount of contempt and fuck-youery to cement her as a fundamental Starfleet disciple.


She delivers every line with the perfect degree of deadpan pragmatism.

I haven’t done any research on whether or not we’ll see her again, and I don’t intend to, as the hope of seeing her returning and bossing all of these simpletons around will be the one thing that keeps me going through this entire god damn season.

For those who aren’t watching the show: we meet Jet Reno on a wrecked hospital ship, stranded on an asteroid eleven months earlier in the opening stages of the war with the Klingons. When the ship was wrecked, most of the crew and the patients left in escape pods, but some of the wounded were in too bad of shape to leave that way.

So Jet Reno, star commander and steel-hided badass, stays behind, on her own, to keep the ship’s systems going and look after the patients. In that time, she improvises floating worker drones to help her with manual labour, and somehow figures out how to run a human off a Bolian heart.

She keeps the beating heart in a jar.


She fits Star Trek’s optimistic vision of humanity’s future so perfectly that I can barely believe she appeared in ‘Discovery’. She’s tough, capable and compassionate, and I am completely fine with her becoming the template for all future characterisation within this show.

Emotional Attachment

The acting was another wonderful element to this episode.

I liked Alan Tudyk’s Anthony Rapp’s performance in Season One. And I loved it here. He brought a fantastic degree of pathos and thoughtfulness to the recently-bereaved Stamets, struggling to cope with living in a claustrophobic environment in which his partner was recently murdered. I felt genuinely sorry for him, and shared in his grief.

Sonequa Martin-Green was variable. There were some great touches, such as her grinding her teeth as she thinks about her troubled relationship with Spock. But later in the episode, she seems to suffer from the bobble-head syndrome that plagues so many actors. That may have been a result of the director, however, and I’ll not condemn her for it unless it becomes a pattern.

Anson Mount gave a lovely turn as Captain Pike. We’ll talk about the more general issues with Pike in a bit, but from an acting perspective he was pretty much spot-on. He’s casually likeable and seems like a nice guy to talk to at a barbecue or to be stuck in a turbolift with.

Detmer and Owosekun (Emily Coutts and Oyin Oladejo) can actually act! I know you would never have guessed it given the eight-and-a-half “status update” lines they had between them in the first season, but here they get at least that many lines each, and they seem to be enjoying themselves. Keep it up, ‘Discovery’, and soon you’ll almost be an actual feminist show!


Burnham and Tilly have a lovely moment in sickbay. They seem like genuine friends, with real affection for one another, and they excitedly talk about science shit, and they seem almost exactly like what you’d expect to see in a good Star Trek show made within the last ten years. And, Tilly gets her terrible “The power of maths!” line out of the way with in this episode, and it is terrible, but at least it’s out of the way with early on and I don’t have to spend the next few weeks dreading its arrival

What is this? It’s like I’m having feelings about ‘Discovery’, but they aren’t bad, horrible feelings that burn like a smouldering, fitful rage. They’re nice feelings, almost like I’m rooting for these characters and want to get to know them better. I didn’t finish the episode depressed. I actually want to see more.

I’m scared.

‘Star Trek: Discovery’ Gets a Trailer for Season 2, And There’s Yet Another White Male Captain And No Surprises

Why am I even still writing about this stupid fucking show?

Nevermind. Let’s just get this over with.


There’s a part of me that really, really hopes they made a point of putting that “Right, ladies?” line in the trailer because of this article I wrote last year. Like, I really, really doubt it. But I know that at least some of the writers saw it. So I can hope.

“We have always looked to the stars – to discover who we are. And hidden there was a message, made of space and time. Visible only to those open enough to receive it.”

Well gosh golly gee, that’s all very deep and provocative. And it’s accompanied by the image of what looks like some kind of sexy space spider lady in high heals. Is she delivering the message? Is she some kind of space courier? Cosmic FedEx?

When you watch the trailer, this figure walks like it’s in high heels. Because of course it does.

“I’m here to take command of the Discovery under Regulation 19, Section C.”

But at the end of Season 1 of ‘Discovery’, wasn’t the Enterprise broadcasting a “Priority One Distress Call”? Then the Enterprise appears and she doesn’t look distressed. And this trailer doesn’t make it look like Pike was leaving a distressed ship, he only brings two or three people with him. Can you really put out a distress call and then as soon as someone drops by to pick you up, just take command of their ship?

Pike invokes regulation 19, section C. And then Saru says “Your directive is only instituted when an imminent threat is detected.” So, wait, so Pike knew he was taking command of the Discovery? Then why was the Enterprise broadcasting a distress call? It’s almost as though the writers needed a cliffhanger and some Enterprise fan service at the end of the first season, so just wrote a scene with no idea of what was going on and then just picked up where they left off for the second season. But I’m sure the writers are smarter than that.


“Federation sensors picked up seven red bursts, spread out across more than thirty thousand light-years.”

Hey, remember how in the 2009 J. J. Abrams reboot movie, they had “red matter”, and everyone thought it was the dumbest thing ever? I bring that up now for no reason.

Also, in space, I know they have “red shift” and that stars are classified by colour, but don’t scientists usually talk about stuff by its defining feature? Like, gamma-ray bursts, or neutron stars? When I’m ordering an ice slushy at the cinema I’ll ask for “the red one”, but if I was talking about a potentially life-threatening explosion in space I like to think a bunch of scientists in the future would be a bit more specific than just describing it by its colour.

“Sir, there’s an anomaly off the starboard bow!”
“Well, what is it, Data?”
“It’s red, sir! It’s red!”

Also, he mentions that these bursts are “spread out across more than thirty thousand light-years.” Which is between one third and one sixth the diameter of the Milky Way. Except that the CGI seems to show them across the whole Milky Way. Unless that’s not the Milky Way, but if it’s some kind of nebula or star system, it’d be way too big – an area of space with a diameter of thirty thousand light-years could contain as many as 30 billion stars. Ah, whatever.

“These mysterious signals are beyond anything we understand (except for colour theory). Is it a greeting? A declaration of malice? Let’s find out.”

Oh, okay, so that’s the mystery – what’s behind these weird signals? Except I’m guessing it’s whatever message Burnham was talking about in the opening of the trailer. So I guess that’s that mystery solved.

This isn’t from the show, this was just a candid photo of Emily Coutts as she realised she actually had some lines to deliver this season.

“Trust us. Discovery has you. Right, ladies?”

There’s more dialogue between Burnham, Detmer and Owosekun in this two-minute trailer than there was in the first twelve episodes of Season One put together.

“This is the power of math, people!”

I am completely fine with everyone getting a bit more scientific and rational on this show. But god damn it if that line and its delivery and the little high five doesn’t make me want to murder literally every single person on this wretched fucking planet.

“We’re quirky!”

Also, Commander Airiam doesn’t appear in the trailer at all except for this shot. Until I spotted her here, I honestly thought she’d just been dropped from the series and that nobody would mention her ever again. Also note how she’s the third-highest ranking officer on the ship (maybe fourth now that Burnham’s reinstated) but she’s still being bossed around by a lieutenant and a cadet.

Sara Mitich, if you’re reading this, you did a great job on ‘The Expanse’, nobody thinks any less of you because of ‘Discovery’.

“My foster-brother, Mister Spock.”

“He took leave. It’s as if he’d run into a question he couldn’t answer.”

“Spock is linked to these signals. And he needs help.”

Jesus, where to start.

First off, I never had a “canon” problem with Burnham being written as Spock’s foster-sister. After all, it’s not the first time Spock had a family member ret-conned into his backstory. The main issue with it is that it acts as a weight around Burnham’s narrative that just wasn’t required. You can have a human character with a Vulcan upbringing without making her a relative of the only Vulcan that anyone recognises from the franchise.

“Relax, everybody. There’s still a man in charge.”

Now they’re bringing Spock in as a major plot point, and you just know it’s going to suck. He’ll be doing something stupid or out of character and unless they get Zachary Quinto in to revive his role, the whole thing will probably be garbage.

Fortunately, abusing an existing character doesn’t retroactively ruin that character. Watching Spock scream and roar as he beats Khan with a metal box in ‘Into Darkness’ doesn’t change how I view the character when I re-watch ‘Wrath of Khan’ for the ninetieth time – it’s possible to retain detachment.

The real problem, and the catastrophic misstep that ‘Discovery’ seems to be making, is of taking familiar, brand-reinforcing characters like Spock and putting them firmly in the centre of a story that ought to be about Discovery and its crew.

Trek has always had crossovers – from minor guest appearances in one-off episodes like TNG’s ‘Relics’ and Voyager’s ‘Life Line’, to full-on cast insertion with Worf joining the Deep Space Nine crew from season 4 onwards. But when it’s a single episode in a season of more than twenty, it’s relatively non-intrusive. And in the case of Worf, it was actually a boon, giving an existing character some much needed growth and adding an extra element to an ensemble cast of strong, compelling characters (and Jake).

Oh look, the cast of ‘Discovery’, plus three female extras who they let join in the photoshoot.

And for all of ‘Discovery’s woes, its characters were arguably its strongest point. Tilly was a new take on the bumbling rookie. Saru had an interesting background, as poorly explored as it was. Tyler was a great vehicle for Shazad Latif, and even Stamets ended up rounding out nicely to be a thoughtful, tragic personality, quite distinct from the high-energy enthusiasm of the likes of Scotty, La Forge and Torres.

And the show should be about them. They’re the cast. It’s their stories that we want to care about. But now, in this season, we have Christopher Pike as the (white, male) captain – Christopher Pike, the man who was originally deeply uncomfortable with having women on his bridge, and who later became Bruce Greenwood, the fire alarm of contemporary actors – functional, but only remarkable if something’s going wrong. (I mean, he’s great and all, but try describing Christopher Pike based on his performance in the reboot movies. Do it. Tell me what his character is. Tell me what was distinct about his personality. I’ll wait.)

Then, we get to Burnham. Burnham suffered from a bad case of Gimmick Personality. Burnham is essentially an armature, onto which was layered the various hashtaggable statements that the writers thought were necessary to make the show interesting. She’s a human who was raised by Vulcans. She’s an orphan. She’s Spock’s sister. She’s Starfleet’s first traitor. Everything distinctive about Burnham comes from things that happened to her, or things that are incidental to her character. She began the first season with a series of actions that were baffling to the audience, and after that point all she really did was respond to stuff that happened to her.


Stamets strives for scientific understanding of the fabric of the universe. Tilly is driven by her command ambitions. Saru tries to correct his past failures. But Burnham? Burnham gets coerced into serving on the Discovery, responds to threats as they arrive, and by the end we are told she has redeemed herself. She never sets out to seek redemption. She never pushes to make herself better, or discover new things about herself. When she takes the captain’s chair of the I.S.S. Discovery in the Mirror Universe, she doesn’t have that moment of “Alright, this is it, this is where I prove what I’m capable of.” She just sort of wanders over to it in confusion. The one decision we ever see her make is to save Mirror Georgiou.

Now, it looks like she’s just going to be on a mission to rescue Spock. Or as she calls him, “Mister Spock”, which is neither his name nor his rank. Also she’s older than he is. Which leads to the hilarious scenario that she grew up with a younger foster-brother who she called “Mister Spock.”


But let’s put this in the perspective of people who might be watching this show with absolutely no prior knowledge of Star Trek (i.e. nobody). Are they suddenly supposed to care deeply about the fate of some rando who’s been mentioned by name twice in the first season? ‘Stranger Things’ made us care about the fate of Will by having us invest in his mother and her frantic, desperate need to find him. But Burnham doesn’t really seem to be very close to Spock at all, and Sarek is an emotionless Vulcan. So basically, the threat to Spock is palpable only to people who are already familiar with the franchise and who, therefore, already know that he’s probably going to be fine.

Just let these dweebs be the centre of their own story, for Christ’s sakes.

We also need to talk about the fact that Captain Pike takes over. This’ll be brief, but my points are thusly:

  • There is no compulsion to have Pike in charge to fit Trek’s history or canon. As far as we knew he only ever captained the Enterprise.
  • You could totally have had a badass woman in charge, like that one who appears in the wreckage in the trailer with the really stupid line about the pulsar thingy.
  • Why did they need to put another white man in charge of the ship?

It’s just really annoying, because it’s not even like Pike is some iconic part of Trek, he was in the first of two pilot episodes that nobody really remembers, and he was also in the reboot movies as a bland mentor character. And they’re not even using the same actor. So what’s the point? Could they not think of anything else in terms of storyline? Or anyone else to take command of the ship? Dullllll.

The rest of the trailer is pretty standard teaser-trailer fair. You get a few dramatic / amusing one-liners, some plug-in pop-rock (depending on which version of the trailer you watch, you’ll either get Lenny Kravitz for the CBS All-Access one or some painfully generic thumpy beats for the Netflix one).


We also get a BONE-HURTINGLY FUNNY SCENE ABOUT SNOT at the very end, I think to try and convince the audience that this season won’t just be about torture, genocide and shouting, but honestly it comes across as cheap and dull. IT’S FUNNY BECAUSE THE SPACE PERSON HAS A COLD, HAHAHA, HUMANS GET COLDS TOO, HAHAHA, SUCH FUN.

What we’re left with is a lot of explosions and action, a lot of shots of white, male Christopher Pike in the captain’s chair (because what, do you expect a woman to do it? It’s the captain, of course he has to be white, and a man), and an overall feeling that this season will probably be less grim and dark than the first season, but not necessarily much smarter. I mean, the opening shots imply the secret to the universe will be delivered by a sexy space woman in high heals.

The really positive thing to come out of all of this is that there’s no mention of or reference to bloody Section 31. That being said, I wouldn’t put it past this collection of bumbling fuckwads to introduce it in some “SHOCKING CLIFFHANGER” at some point to surprise everyone. I guess we’ll just have to wait and see.

As an aside, try watching the Netflix version of the trailer and then watching the initial trailer for Justice League. The similarities in tone are disquieting, to say the least. Although that could just be because every trailer is the same these days.