Buckle up kids, today on the humans are weird tag I’m going
to get into, you guessed it: Hipsters.
Okay, so while I was writing some other stuff for the humans
are weird about how we enjoy things more if they’re popular I was thinking
about why we do that. The best answer my brain could supply was that we, as a
species enjoy something more if we know that loads of other people are enjoying
it with us. It’s similar to when you go to a concert and there are loads of
people there, all there because they love music and want to see this thing and
it just enhances your experience. It is very different to say if you were in a
huge hall listening to someone sing, but you were the only one there. It just
wouldn’t be as fun, because we as a species, are made to be part of a pack. [I
mean it might be kinda cool, like that one day everyone thought it was a snow
day when it wasn’t and so only one kid showed up in my class.] but my point is
that you would enjoy the music more with loads of people, but on your own you
might just feel kind of awkward and start picking out all the flaws in the
singers voice [he might just be upset that only one person showed up for his
performance though, so let’s give the guy a break]
So what this all leads onto is set up for the fact that I
think the reason we enjoy say a certain type of clothes more when they’re
popular is because we know that there are other people enjoying those clothes
with us [tht sounds kinda weird but you know what I mean] and its like the
concert example but on a much wider scale, rather than just one comparatively
So now it’s time for me to finally get around to the point
that I’ve been setting up for since the beginning: hipsters. They have no
regard for the system we have in place of enjoying things more as a group.
Imagine how much that would confuse aliens:
Alien: Ah, human!fred, I see that fashion has once more
advanced since I last saw your kind, it does not seem long ago, but how quickly
you humans move on has to stop surprising me at some point.
Human: no, don’t worry, everyone else is still stuck on
those stupid jumpsuit outfits you were right.
Alien: But you are not wearing this trend?
Human: ugh, it’s way too popular for me to be into
Alien: But I though your species enjoyed things more as a
Human: Ew, maybe the losers and the sheep
Alien: So you are not into this trend?
Human: Well I liked it fine like three months ago, but then
everyone else got so into it, and that totally ruined it for me.
Alien: I do not understand
So yeah, just a thought. When I brought this to my sister
she said that she thought it might be some kind of alpha status thing, like
hipsters are trying to be above everyone else. Which makes sense. It also
rather reminds me of the fact that rich people started using the british accent
to distinguish themselves from the poor, so you know. It’s not like we haven’t
done that kind of thing to try and make ourselves more important, so anyway, as
usual, just food for thought, kinda late but oh well, see you tomorrow!
Showrunners Aaron Harberts and Gretchen J. Berg — working from a creative roadmap laid out by executive producer Bryan Fuller — are delivering a Trek saga that gets rid of one the franchise’s decades-old limitations in an effort to evolve the series.
As part of Trek creator Gene Roddenberry’s utopian vision of the future (and one that Trek franchise executive producer Rick Berman carried on after Roddenberry’s death in 1991), writers on Trek shows were urged to avoid having Starfleet crew members in significant conflict with one another (unless a crew member is, say, possessed by an alien force), or from being shown in any seriously negative way.
This guideline wasn’t strictly followed across all 700 previous franchise episodes, of course (there are especially some notable exceptions in The Original Series). But in an aspirational effort to make the future more idyllic, Starfleet crew members typically weren’t supposed to demonstrate baser human flaws. For writers on Trek shows, the restriction has been a point of behind-the-scenes contention (one TNG and Voyager writer, Michael Piller, famously dubbed it “Roddenberry’s Box”). Drama is conflict, after all, and if all the conflict stems from non-Starfleet members on a show whose regular cast consists almost entirely of Starfleet officers, it hugely limits the types of stories that can be told.
So for the CBS All Access series coming Sept. 24, that restriction has been lifted and the writers are allowed to tell types of stories that were discouraged for decades.
“We’re trying to do stories that are complicated, with characters with strong points of view and strong passions,” Harberts said. “People have to make mistakes — mistakes are still going to be made in the future. We’re still going to argue in the future.”
“The rules of Starfleet remain the same,” Berg added. “But while we’re human or alien in various ways, none of us are perfect.”
The handling of these inner-Starfleet conflicts will still draw inspiration from Roddenberry’s ideals, however. “The thing we’re taking from Roddenberry is how we solve those conflicts,” Harberts said. “So we do have our characters in conflict, we do have them struggling with each other, but it’s about how they find a solution and work through their problems.”
Another major change is the new series is heavily serialized, unlike all the previous iterations which mostly consisted of close-ended episodes (with occasional story arcs that were two or three episodes long, plus Deep Space Nine‘s more ambitious Dominion Wars arc, among other examples). Serialization likewise makes it very difficult to keep all conflict from external sources because Discovery isn’t telling a new destination-based adventure each week. When you create dramatic storylines among the crew that spans an entire season or more, there should be some real friction and not just have the crew sitting around cheerfully playing tri-dimensional chess whenever they’re not under direct attack.
There’s also the fact the last Trek series (Star Trek: Enterprise) went off the air 12 years ago and the TV drama storytelling has evolved to be more realistic since then — and so has sci-fi. A former Trek writer, Ron Moore (who, like Piller, was outspoken about Trek‘s limitations), conceived of his acclaimed 2004 Battlestar Galactica reboot as a way of telling the types of morally murky stories that Deep Space Nine and Voyager wouldn’t allow. Moore, Piller and Discovery‘s Fuller all worked on late 1990s Trek shows, collectively trying to push the format’s creative envelope in bold new ways. Mind you, Discovery isn’t nearly as dark as BSG — it’s very much Star Trek and Starfleet officers have still evolved in all respects from where we are now. As always, they’re admirable people you wish you knew in real life. But the show’s producers will have the freedom to depict a wider and more realistic bandwidth of human (and alien) drama.
Hrrmmm… do not know if want. Like the article says, there were already some exceptions to the rule: the Bones/Kirk/Spock triad, who were often at each other but never to a detrimental level, and the complex relationships on DS9. Star Trek, as a whole, was meant to be aspirational, and part of that was in how the crew worked together. I hope they’re right and it doesn’t get to the level of NuBSG, because that level of forced conflict/”drama” was one of the things I could not stand about that series.