The discovery takes off in "Such Sweet Sorrow, Part 2" – TrekMovie.com

REVIEW WITHOUT SPOILER

The second season of Discovery ends with the thrill of an episode, which (mainly) satisfactorily links the mysteries of the season and the series, preparing the show for a bold new adventure.

"Such a sorrow, part 2" – Ep # 214 – On the photo: Sonequa Martin-Green as Burnham

[WARNING: SPOILERS BELOW]

TO SUMMARIZE

A giant leap

The second part of "Such Sweet Sorrow" immediately grabs the viewer with frenetic changes, rotating cameras, people running in the corridors, frenzied preparation for battle, and small ships buzzing to set the tone. The calm moments of the first part are behind us, this final will be relentless. Captain Pike aboard the company exposes the stakes: the good guys are here to protect Michael Burnham from Leland and his fleet under Section 31, so that she can create a vortex and save the day. # 39; future. The time is so tight that the production even uses a split-screen gadget, with Pike leaving behind his burgeoning rhetoric to simply inspire with "That's Starfleet, do it." As for Saru, he goes with a classic, citing ancient Chinese wisdom, the surprise of former Terran Emperor Michelle Yeoh.

Tonight at BattleChat, Commander Saru joins us. How do you see Leland's latest requests?

By putting a little more emphasis on the battle, it is revealed that the only form of life in the Section 31 fleet is Leland, which was taken over by Control. So even though the control had shown the ability to assimilate possessing others, the evil AI keeps it tight for the finale. However, Leland's fleet is launching its own drone storm, far exceeding the mini-armada of more than 200 small craft that Discovery and Enterprise were able to muster.

After the credits, the shooting begins with a burst of phasers, photons and drones, which does not really let up all the episodes. It's hard to follow what happens when the consoles explode and the ships shoot at anything that moves, but that's the goal. Teams that create practical effects on the scenery and striking visual effects of the battle for the glorious chaos they throw at the public are to be commended.

Three are ships somewhere behind all the explosions

Tilly 's friend, Tilly' s friend, who has taken a shuttle bus (without asking anything because she is queen) puts a little order on the order and goes into the fray. Using her engineering background, she plans to tackle Leland's drones to help the odds, even a bit. But the stopwatch remaining on the Discovery continues to work while a team is hastily assembling a Red Angel costume for Michael. Fortunately, Reno survived what was presented as a time crystal event at the end of the first part. He came out unscathed and even had time to deliver a bunch of marks, telling Saru: "Let me go, sir." It's a pleasure to see Tig Notaro back, but after all that has accumulated in the first part, she seems to have had a little trouble being easy here.

Lieutenant-Colonel Cdrm. Stamets who was seriously injured during the final assembly of the Red Angel suit when transferring it to the Shuttle Bay. Paul is sent to the infirmary, which is in disarray while the medical staff is trying to sort the victims. Raven Dauda skillfully returns as Dr. Pollard and adds a little more nuance to her character as she makes it clear that she's not happy that the skeleton team staying on Disco is having a beating , and some of them will not succeed. They pay the price as Michael Red Angels gets in and out of the ship, with Spock flying a shuttle escort. Throughout this first act, actors, effects and music maintain a palpable tension. The director Olatunde Osunsanmi follows the determined rhythm, which gives us the impression of joining Michael in his big jump in this battle.

Hey guys, let us buzz the bridge window and scare them

Fight Club

If you paid close attention during this frenzy, you would have noticed that the Discovery had to let go of its shields so that Michael could get out of the ship. So it should not be shocking when combining AI-in-a-Leland Valses on the bridge to get to the scientific lab to get the data from this sphere, which is the MacGuffin in which this battle is nominally. Georgiou and Nhan are responsible for getting him out of the lab before he can get what he wants while the battle continues to rage. Michelle Yeoh and Rachael Ancheril show a fast chemistry while both engage in a sadistic joke very devoid of Starfleet.

Fate continues to slap Burnham when, even at a safe distance, she seems unable to chart a course in the future. In the classic moments of Trek until 11 o'clock, we see characters jumping on both bridges with sparks … an amazing amount of sparks. The battle unfolds badly and, as she saw in her vision, a photon torpedo is housed in the saucer of the Enterprise. The Discovery also has its own problem with damaged shield emitters, which prevents any possibility of following Burnham into a wormhole. The plan to change that future does not work.

The battle seemed lost, the nice guys needed a miracle. It came in the form of a Klingon ship Cleave escorted by Baul fighters led by Kelpiens, including Saru's sister who received his farewell letter from the first part and let his brother fight alone. These post-vahar'ai Kelpians have really cleared their fears and we can only hope that they got their fighters through Kaminar cooperation and not after a brutal Ba'ul brunch. The Klingons are here thanks to Tyler – who left at the end of the first part – and led by Chancellor L & # 39; Rell who made it clear that she and her fleet of brilliant D-7s are not there to make friends, but for the glory of the empire. This is enough. Apparently, the crew of L'Rell is more interested in a good fight than in the question of why the guy she killed was accused of being a spy of the Federation came forward to ask for help, for the Federation.

Just the right amount of thIngan Hol

The appearance of new allies lights a light bulb for Spock, who watches the season two excessively, and now sees how much is being prepared for the moment. Earlier, he told Michael, "It's your mother and you trust what you've done together," explaining that they were both the Red Angel. Mum Angel may have been at key moments in her life and Spock's, but it was Michael Angel who was responsible for the five signals, each one being the key to a necessary element to win the battle.

Before she can advance in time, she must paradoxically predestine her way into the past to light these five red flashes. In one of the moments that work if you do not think about it too much (as you wonder why the crystal of time did not go off one jump), it is explained that "I do not know what to do. it must close the "open loop" and in doing so, it will prevent the control from evolving. And, recalling the theme of the season, Michael notes that Spock asks him to make a leap of faith that he says is "only logical". As for the future, he assures us that he has not been written yet. Is not the journey in time fun?

In beautiful sequences borrowed from Interstellar, 2001: The Space Odyssey, and Star Trek: the movie, Michael travels back in time as a Red Angel, while traveling in a memory of the five previous signals. The entire season is at the center of attention, with visits to the asteroid where they found Reno, Terralysium, Kaminar, Boreth and Xahea. Once back to the present of the battle, Michael is finally able to chart a course for the future, where she plans to trigger the sixth signal for the Discovery to follow as a glimmer of hope.

My god, it's full of sparks

It's time to go there

As Michael approaches the past, there are several tasks to be accomplished. Tilly's job is to tackle a very busy job to recover the shields while babbling. She does the job at the Scotty, in a vertical tube of Jefferies. Mary Wiseman does a remarkable job in relieving the pleasures of comics with discussions on blindfolded drinking games. However, this is only another moment in a series of disappointing moments for Tilly in the second half of season two, where the character seems to have become a caricature. little bow, and no ability here to really show what is supposed to be his considerable intelligence. It was like an afterthought when someone realized they were not giving anything to Tilly.

A much more satisfying solution involves the appearance of Dr. Hugh Culber, who returns from the USS Enterprise to assist with medical assistance, including to personally treat Stamets. Before putting him in a medicated coma, Hugh reveals that he realized that Paul was his home. He has finished dealing with resurrection issues and is willing to love and care for Paul. In a scene that is both tearful and deserved, Wilson Cruz does an excellent job of giving pause to action and reminding us of the theme of the family for the season and the meaning of this fight.

Dying? It's so late last year.

Number 1 and Admiral Cornwell are tasked with taking care of this unexploded torpedo stuck in the hull of the Enterprise. In a classic scene, they review all the technical scenarios in an attempt to broadcast it before it destroys half of the ship. As the situation becomes even more tense, Captain Pike changes his place with Number One. Eventually, they realize that the only way to save the ship is that someone stays with the bomb and manually closes an emergency partition. Pike becomes metaphysical when he wonders how, if he has seen his destiny, it is up to him to do it, because this torpedo can not be what wins. But he is overwhelmed by the admiral who is not ready to try his luck. So, unfortunately, it's Katrina Cornwell who has to sacrifice herself. We may have seen this kind of thing before, and it is now clear that it was introduced only in the first part, so that the second party may give up offering to the gods of History that require stakes achieved, but Jayne Brook played well. really felt.

Glass windows of spaceships should carry a warning label regarding a probable heroic death

Before Burnham can leave to guide the discovery in the future, Spock reveals – as expected because of his gun – that he can not return to the discovery. Reluctantly, these formerly separated brothers and sisters now have to say goodbye and their bow ends in a beautiful reconciliation. Even with Spock sitting in a shuttle and Michael on the outside on the floating hull of a Section 31 ship, Ethan Peck and Sonequa Martin-Green evoke a deep emotion across their chemistry. He is not ready to say goodbye because he feels he needs to maintain the fragile balance of his competing natures, Human and Vulcan. She helps her little brother prepare for the future by giving him the "last advice" she gives him, telling him to allow others to join him. We can imagine her future friends – especially a certain James T. Kirk – when she begs him to "find the person who seems farthest from you and reach him." The first part of this final contained a lot of goodbyes, that the second part has this moment, this ultimate farewell to Michael and gives the ultimate meaning to his relationship with Spock. And to end the season, she promises to send the seventh – and last – signal in time, to let him know that it will be well.

Seriously, was there a sale at the spark shop?

Georgiou focuses on relationships with Leland or, as she prefers to name it, the "AI meat sausage". She has hidden the data from the sphere and Leland 2.0 does not take them well, she constantly asks them to be delivered with an obsession. not seen since Johnny the newspaper deliveryman in Better dead Wanted those two dollars plus tip. All this leads to an elongated sequence – and not very satisfactory – of old-fashioned shots and fists. On the technical side, the cascades work and what they look like beginning-For example, fighting in a rotating gravitational hallway was quite exceptional, however, eliminating a dishonest AI with a physical fight seems simply out of place, and not very Star Trek. His final solution was to use the same soil magnetization trick that Spock had used on the Kamran Gant Controlified in "Through the Valley of Shadows", bringing a surprisingly simple result: I guess he really needed that data of this sphere are smart enough not to fall for the same turn twice – final end to Control.

I can not believe I fell for that, again.

With the defeat of Lelandbot, the Section 31 fleet dies with him, leaving the way for Michael to light the sky and rise like a real angel. Before anyone asks why they are still escaping into the future to hide from an enemy they have just destroyed, Discovery follows Michael into a wormhole and it's a trap for them.^rd century.

Did I hear that Control is dead? Where are the brakes on this thing?

The first rule of the Discovery Club …

With the battle over and the Discovery completing its mission to escape the era of the TOS, the episode continues with a kind of coda. 124 days have passed since the battle and the surviving characters are reported to Starfleet headquarters. When asked about the detection of a quantum singularity (aka the wormhole that the Disco had usually left), they all make their best impression of Johnny Tightlips and tell how the US Discovery was destroyed at the following a catastrophic failure of Spore. Drive.

Section 31 will give a "radical whole" with more transparency, Ash Tyler being named new manager. Starfleet believes that its unique perspective (cough – it's actually a Klingon – cough) makes it particularly well suited to the "dualities" required to perform Section 31. As for Control, it is said that it was completely destroyed.

We have a way to make you talk, in the first place, the comfortable chair

The highlight of this postscript comes from a suggestion of Mr. Spock himself, who proposes a "radical" solution to prevent other people from discovering the costume, the data of the sphere and Spore Drive technology that travels in time, lest it affect the history. events. Anyone who knows the Discovery, the Spore Drive and the crew will be told never to talk about such things, ever. In a personal diary, Spock reveals that all the deception was to ensure that Michael's sacrifice and the Discovery crew made sense. He even agrees never to talk about Michael with his own parents, in the presence of other people. And it is for me that the adventures of the USS Discovery will be part of the history of Trek, but will never again be addressed.

Hipster no more

The final minutes of the final are reserved for the USS Enterprise, now repaired, to get out of the dry dock. Spock – now finally a little more at peace with himself – shaves his beard and takes his classic look in blue scientific uniform to join Captain Pike and number one on the bridge. The episode and the season end on the USS Enterprise with the detection of a signal – the seventh signal of Michael – at 5100 light-years away in the beta quadrant, indicating that the Discovery's team and herself reached their destination, at least in terms of space, if not time. In addition to logging the anomaly, the ship takes no action. Remember that the USS Discovery is officially destroyed, so it's best not to look at it more closely. They move away casually, taking the Enterprise repaired for "a ride" and discovering a new moon around an extraterrestrial planet, leaving the red glowing fiercely, isolated and far away and completely mysterious, for eventually to be explored in another season.

Wait, do not leave

ANALYSIS

Mysteries resolved

The second season of Star Trek: Discovery avoid the obsession of the first season for secrets and surprises, proposing instead a great mystery related to the seven signals and the Red Angel. Much of this galactic polar was solved even before we reached the final in two parts, and most of the time satisfactorily. This latest episode has created the latest information on how the Red Angel and the bursts worked, creating an extra layer of poetry for the entire season. For the most part, this makes sense, and has served as a mechanism for making changes to the series, including the ultimate "fix" here in the season finale (more on this later).

What has not been satisfactory is the Big Bad this season. Previous exams have already covered Control's lack of depth and nuance. Any hope that this finale would make the IA antagonist more interesting would be hit and put to death by Michelle Yeoh, without it being her fault. One never knew how or why control appealed to the Federation, or even why he needed the data from the sphere to kill everyone. Unlike a good villain, Control has never revealed anything interesting about our heroes, especially Michael Burnham. And the way he was defeated was totally unsatisfactory. This is Star Trek and the solution to a cautionary tale about a technology gone crazy should have involved our characters using their brains, not their power. Remember to mention Captain Kirk talking about computer to death and now you have something. Alas. Even more frivolous, once control is over, why did they continue the plan to go into the future, which (in the universe) was only to escape control?

The battle itself that went through this episode was a rush of adrenaline and served well to keep you on the wire. This episode has probably featured the longest battle of Star Trek's history, rich in heroic moments for ships and crews. The inclusion of small support ship squadrons was something new for Trek, but it was quite logical and it gave a bit of dynamism. It would have been nice to see a good strategy unfold, the best time being given to Po and not to one of our two commanders. The last-minute reinforcements brought by the Klingons and Kelpiens were a good link between our characters and the season as a whole. However, it still seems odd that no other Starfleet ship has been mobilized, even with Tyler and Sarek aware of the battle.

Regarding the themes of the season, this episode has largely paid the recurring theme of the family. We have seen this in such great times as with Stamets and Culber or Burnham and Spock, but also in smaller and quieter moments, like Reno knocking out Saru in a way that only good friends and family can do. We believe and cherish the connection these people have together. The writing and acting of the actors have come together and we feel it as they say goodbye or lose somebody. As for the other supposed theme of the science-faith season, it seems that most of the time, there was little attention during the second part of the season, perhaps because the change of spectators. This finale continues the trend, but it's not really a big loss, the other arcs of themes and stories by delivering enough.

This ship makes up for something

«N Sync

So we finally have the promised answer as to the Discovery will come in sync with canon. The titular ship, with Michael Burnham, left the 23^rd century to an unknown destiny, and everyone decided collectively to tweet the universe and to pretend that it had been destroyed and not to talk about it again. This is a variation of the salon's solution to classify the visit into the Mirror universe, allowing it to surprise Kirk a decade later. Does this explain why Spock never again mentioned his sister Michael – at least as seen in Trek? Sure. He never mentioned Sybok before his arrival, and it seems that Michael is not going through yet.

What about Spore Drive? something that could have been helpful, especially for the USS Voyager after its failure in the Delta Quadrant. Although this one is a little more difficult, but if you do not think about it, you can imagine that the technology has been abandoned, both too dangerous and impossible to master without Stamets' expertise. and Tardigrade DNA, which we will have to assume that it was only available on the Discovery.

The history of the Klingons is an area of ​​gun timing that has not been addressed and which may have been exacerbated. The first season showed a Klingon war that seemed devastating enough to never be mentioned again. The second season reversed the scenario to show a level of cooperation with the Klingons that does not seem to link to the Cold War's enemies that will dominate the TOS era until a relaxation with Star Trek VI.

In the end, the series has developed a way to keep the adventures of the USS Discovery and its crew under the Star Trek cannon, while erasing them from the official Starfleet story – or at least by removing them. . Like many things about Discoveryit works until you think about it. The solution could surely be tattooed, but it is probably better for the fans of the series than to actually erase Discovery of the Prime universe via a rewrite of Yesterday's Enterprise pocket universe.

But the biggest question is perhaps: was it absolutely necessary? The second season can be considered as a series of course corrections for the show, big and small. This last act of moving the show to a new location – and more importantly – over time, is a radical solution to solving the perceived problems of Canon Sync.

Although a new setting probably allows the show to explore new worlds without the constraints being so close to the TOS, this could still be considered an overkill. Discovery really made a place for himself in his second season, then he gets up and leaves for other pastures. On the one hand, this could be perceived as the abandonment of another element of co-creator Bryan Fuller's vision for the series. However, it takes up somehow another concept of Fuller – rejected by CBS – for a series of anthologies featuring each season in different eras of Star Trek.

One thing is certain, after all the turnover and the changes to the series, the designers have now set the stage for telling their Star Trek stories with their hands free. Season 3 is waiting for you. Good luck to everyone.

It sounds familiar

Who fired the red glow?

The last moments of this episode were somewhat curious. While the scenes at Starfleet Headquarters were a clever way to tackle gun problems under the bridge, and having a moment to see Pike, Spock and the Enterprise out of the dry dock was cool, we always feel that something was missing. Anson Mount and Ethan Peck – and their magnificent ship – certainly deserved a good time to get lost at sunset. However, if you did not know that CBS was already working on the third season of the USS Discovery show, you'd imagine this ending as a kind of series finale for the Discovery, and handing over the keys to new adventures, to edge of the USS Enterprise.

The creators want to create a new big mystery about the fate of Michael Burnham and the USS Discovery. What happened to Disco after going through this wormhole? The only clue we have is the appearance of the seventh red glow, from the Quadrant Beta, probably caused by Michael returning to the 23rd century for his last farewell to Spock.

It just seemed incomplete like a cliffhanger. Why did not they just zoom in on red and show something from USS Discovery or Michael? It does not have to be a lot, but something that shows that the 23^rd century and the crew of the Enterprise were left for new adventures with Michael and the crew of Discovery in this new mysterious place, wherever he is. If you want to create a moment "Who shot J.R.?", You must not forget to show the proverbial shot.

If you dive, you can see Michael shake

Go out with a shot

Overall, "Such Sweet Sorrow, Part 2" was the thrill of an episode, with the heart and soul of Star Trek. It builds on the improvements seen during the second season and has successfully linked the arches of history, characters and themes that have developed since "Brother". Authors and co-writers Alex Kurtzman and Michelle Paradise were impressed by the way they closed the season. with this two-part that adds to an epic finale with a good mix of high-octane action and heartfelt moments, with perhaps a little too much padding to fill two episodes using what may have started with 1.5 episodes of content. There were moments that scratched the head, but with ruthless action and emotional beats, they are easily forgotten, especially during a first viewing.

Everyone was at the top of their game, starting with the casting. Sonequa Martin-Green and Ethan Peck were responsible for solving the problem of Michael and Spock's bow. Honorable mentions are due to Jayne Brook and Cornwell's sacrifice, and to Anson Mount who raises Pike even more for a final hurray. Everyone who works behind the scenes deserves congratulations, especially from the visual effects team, who seems to have spent a lot of sleepless nights offering more hot-ship-on-ship action than in any episode and even some long films.

The episode also ran on a different level, acting as a kind of finale of the first two seasons of the series, including creating reminders such as Michael playing a key role in a space suit in the first game of the series , and the return of the ship Klingon Cleave. . All of this helped to close a chapter of the show in the 23^rd century and prepare an unknown future for season three. Michael's arc with Spock is over and the Red Angel mystery solved, it's not hard to get rid of the past and move forward into that future of hope and optimism that characterize Star Trek.

Hey Reno, should my suit run out of all that red thing?

Random thoughts, connections, Easter eggs and more

• At 1 hour and 5 minutes, it is the longest episode of the series.
• Part 2 of "Such Sweet Sorrow" shares the same authors and directors as Part 1.
• The Stardate given at the end of the episode was 1201.7.
• Again a stranger on Discovery refers to the ancestral wisdom of the Earth, when Saru quotes the classic Sun Tzu The art of war.
• Le Discovery et le Enterprise ont tous deux déployé des faisceaux de phaseur traditionnels pendant la bataille. Les épisodes passés ont principalement montré le USS Discovery en utilisant les "verrous" du phaseur comme ceux du J.J. Films Abrams Trek, qui ont également été utilisés pendant la bataille.
• Il a été estimé que Michael aurait besoin de 2 minutes et 47 secondes pour atteindre une distance de sécurité, un autre élément de la longue liste d’utilisations de Trek, le numéro 47.
• Le vrai nom de Number One, Una, a été révélé par le capitaine Pike. Ce nom a été utilisé pour le numéro un dans les romans de Star Trek, mais c’était la première fois qu’il était utilisé dans le canon à l’écran.
• L'une des nouvelles fonctionnalités présentées pour l'USS Enterprise était les drones de réparation de style Wall-E, nommés DOT-7, pouvant être déployés sur la coque.
• Nous voyons pour la première fois le pont du navire Klingon Cleave, qui semblait avoir un style plus traditionnel.
• Caractéristiques de cet épisode Discovery première visite à San Francisco, siège du siège de Starfleet, figurant dans de nombreuses séries et films précédents de Trek.
• Il était sous-entendu que la section 31 était sous le commandement de l'amiral Cornwell, Ash Tyler étant nommé commandant à la lumière de la «perte de l'amiral Cornwell et du capitaine Georgiou».
• Spock cite le Règlement 157, Section 3 (qui avait été utilisé pour la première fois dans DS9: «Essais et tribulations») en proposant sa solution radicale pour supprimer toute mention du disque Spore Drive et de Michael Burnham de Starfleet.
• La paraphrase de Spock sur "un physicien de la Terre" était une citation de Neil DeGrasse Tyson.
• Il n’était pas établi si Queen Po était revenu au Discovery avant que le navire ne traverse le trou de ver.
• Avec Georgiou à bord du Discovery alors qu’il traversait le trou de ver, il n’est pas clair comment la série potentielle de la Section 31 fonctionnerait, se situerait-elle au 23e siècle? ou l'avenir lointain? ou les deux?

DOT-7

QG Starfleet

Combattant Ba'ul

Star Trek: Discovery est disponible exclusivement aux États-Unis sur CBS All Access. Il est diffusé au Canada sur Space et est diffusé sur CraveTV. Il est disponible sur Netflix partout ailleurs.