Alex Kurtzman is establishing a reputation akin to former CW creator Greg Berlanti
As a long-time Trekkie who’s seen more Starfleet episodes than I can count on one hand, it’s been a rollercoaster ride with Alex Kurtzman at the helm of the Star Trek franchise. It seems like he’s been trying to recreate the magic of the original series, but somehow ended up with a transporter malfunction that sent us hurtling into a parallel universe filled with reboots and reimaginings that left us scratching our heads more often than not.
It seems that Alex Kurtzman hasn’t had the most successful run as the producer of Star Trek, given that many view his hiring as a case of nepotism, since J.J. Abrams, who previously worked on the Star Trek film series, appears to have handed him the position. Since then, Kurtzman’s work on the franchise has been average at best, leading many to question both his methods and intentions, especially as time goes by.
In many aspects, his journey with Star Trek shares similarities to that of his friend Greg Berlanti and Berlanti’s tenure with DC television shows on The CW, collectively known as “The Arrowverse.” Regrettably, the conclusion of Superman & Lois this year left many fans disheartened by how an initially promising series like Arrow ultimately became a less-than-satisfying franchise.
Over time, Berlanti produced an increasing number of shows tailored for progressively niche segments of viewers. He began to prioritize the preferences of a select group of social media followers and steered his work towards them. This approach ultimately resulted in decreasing viewer engagement. The reasons might be that the shows became too specialized to appeal to a wider audience, or because the quality deteriorated as writers left after each season.
Star Trek: Discovery initially aimed to be a fresh take on Star Trek for all enthusiasts, yet it chose a more somber tone, invested heavily in cinematic aesthetics, and significantly altered the fundamental lore. These decisions, however, have been met with criticism from fans early and frequently due to departures from the original concept.
Initially, the programs became increasingly grim or absurd, straying so far from what we initially cherished that they bore little resemblance to our beloved classics. However, Kurtzman eventually struck gold with Star Trek’s Prodigy and Strange New Worlds, series that prioritized storytelling over spectacle. These shows embraced the core values and principles of Star Trek, rather than following the latest trendy plotlines.
Kurtzman seemed more interested in creating the next iconic series like True Detective or Rick and Morty, rather than expanding the Star Trek universe. In many aspects, it appears similar to Berlanti’s intentions. He aimed to establish cornerstone shows within a franchise, but often diluted the original magic and relied on stronger characters to carry new productions. He didn’t seem bothered by offending the loyal fanbase because they weren’t his target audience.
He desired unconventional audiences, those indifferent towards DC Comics. Therefore, he persistently endeavored to create fashionable series aimed at people who weren’t particularly interested in the show itself. This approach mirrors Kurtzman’s. The only distinction is that Kurtzman eventually catered to his audience’s preferences, whereas Berlanti experienced success and subsequently ceased taking their feedback into account.
Currently, Kurtzman is quite unpopular among the franchise members, for valid reasons. As Star Trek: Starfleet Academy approaches, there’s a chance he can regain favor and alter the way fans perceive him. However, whether or not he can pull this off remains to be seen.
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2024-09-30 04:23