Almost instantaneously, our excitement mounts as we witness the triumphant return of Commander Nhan (Rachael Ancheril), who last captivated us in the thrilling episode "Rubicon" from Season 4, Episode 9. As predicted weeks ago after Episode 3, "Jinaal," this latest installment, titled "Eirgah," kicks off with a bang and holds our rapt attention throughout. As we inch closer to the final curtain call of "Star Trek: Discovery," with merely three episodes remaining, we're treated to a highly engaging episode.
However, it seems the writers are still grappling with the complex character of Captain Rayner, a potential pitfall that has lingered throughout. Callum Keith Rennie, an actor of the utmost caliber, deserves more than a recurring B-character role that barely scratches the surface of his immense talent. We seem to be constantly walking a tightrope, balancing between a one-dimensional portrayal and one that hints at the Mariana Trench-like depths of complexity.
Nonetheless, we're granted a glimpse into his background, which only whets our appetite for more. Despite his character's disappointingly cliched moments, you can't help but ponder how Raynor managed to navigate through Starfleet and secure his own command.
Another intriguing observation is the mention of the USS Mitchell, a subtle nod to the late actor Kenneth Mitchell. He made several memorable appearances in "Star Trek: Discovery," playing diverse roles, but tragically succumbed to ALS-related complications earlier this year. This could be a subtle clue as to when this scene was filmed, indicating a recent timeframe, but it remains a minor detail amidst the grandeur of the narrative.
The most crucial aspect to focus on here is the revelation that Malinne "Moll" Ravel (Eve Harlow) and L'ak (Elias Toufexis) are in pursuit of the ultimate power in the universe, with the intention of...trading it? Their plan seems less like a romantic gesture and more like an astonishingly irresponsible and selfish act. Don't you think?
"Oh, darling, imagine our honeymoon on Risa, the planet of pure indulgence," Moll cooed, shifting gracefully beneath the sheets, her skin thirsting for every moment of contact with the sumptuous one-billion-thread Vulcan cotton. "It's a tempting prospect," he replied, his arms still encircling her. "But remember, the entire galaxy lies lifeless, so we'd have to conjure our own Samarian Sunsets..." he added, almost offhandedly. But let's set aside such musings for now. There's a plethora of reasons, many deeper than meets the eye, that render this episode a standout. The obvious ones revolve around the fact that it didn't recycle tired sci-fi tropes recently unearthed by millennial scriptwriters, a refreshing change indeed. It's akin to stumbling upon T-Rex's music for the first time, two decades later, and then forming a band as a precocious thirteen-and-a-half-year-old, harboring unwavering belief in your rock-star destiny by merely parroting their songs. The difference here is that you were prepubescent, none of your bandmates could play an instrument, and the writers of "Discovery" are seasoned professionals.
Intriguingly, this episode marks the first significant directorial outing for Jon Dudkowski, and it promises much. We suspect he too has delved into the works of the legendary Vince Gilligan, as evidenced by certain camera angles and edits that echo his style. The Achilles' heel of Nu-Trek lies in the plethora of directors hired to churn out episodes. "Picard" was a cautionary tale of how not to rush principal photography to completion. Each director brings their unique vision, and when you have a minimum of, say, six distinct styles, it often jars, making the show inconsistent and harder to immerse oneself in, ultimately creating a rift between the viewer and the viewing experience. "Discovery" falls prey to the same issue, but had Dudkowski been given the reins for the entire season, we might have had a series of richer episodes and a more cohesive viewing experience. Having the same showrunner doesn't equate to having a consistent directorial voice, and the variety of such strikingly different styles, in this instance, is a liability. Each episode should be a labor of love, and in a show with only ten episodes per season, both the season and the series would greatly benefit from seamless storytelling.
Undoubtedly, the extent of Dudkowski's actual control remains a mystery. Nevertheless, this installment shines brightly with its captivating dialogue, impeccable pacing, innovative cinematography, and subtle nuances such as Burnham's deprivation of cliched catchphrases, whether banal or clever. This self-aware writing style has garnered both recognition and praise.
As the fifth and final season of "Star Trek: Discovery" unfolds, along with every episode of every other "Star Trek" series (excluding "Star Trek: Prodigy"), they are exclusively streaming on Paramount Plus in the United States, offering fans a galactic adventure at their fingertips. Meanwhile, "Prodigy" has found a new cosmic playground on Netflix, captivating audiences with its unique storytelling.
Internationally, these interstellar sagas are accessible on Paramount Plus in various regions, including Australia, Latin America, the UK, and South Korea. Additionally, Pluto TV Sci-Fi channel brings them to Austria, France, Germany, Italy, Spain, and Switzerland, offering a sci-fi fix for sci-fi enthusiasts. Moreover, they are streaming on Paramount Plus in Italy, France, Germany, Switzerland, and Austria, expanding the universe of "Star Trek" even further. In Canada, they air on Bell Media's CTV Sci-Fi Channel and are available for streaming on Crave, ensuring that no matter where you are in the world, you can embark on these thrilling voyages of exploration.
