Review: ‘Star Trek: Area 31’ is diverting, but it’s more pilot episode than film

The intricate steps a series takes before it’s released for public viewing – the creative choices and studio pressures, the casting calls and subsequent changes, the script revisions and last-minute tweaks, the budget fluctuations due to artistic and commercial considerations – are typically not something I focus on when evaluating a TV show. However, in the case of “Star Trek: Section 31,” premiering this Friday on Paramount+, the final product appears to be such a clear reflection of the behind-the-scenes journey that it seems relevant to discuss.

The original idea for “Star Trek: Section 31” was to be a spinoff from “Star Trek: Discovery,” featuring Michelle Yeoh as Philippa Georgiou, a Starfleet black ops agent. However, it was later upgraded or demoted to a “feature,” officially becoming the 14th addition to the “Star Trek” universe and the franchise’s first TV movie. Despite this change apparently happening before production, the elements of “Section 31” strongly suggest a pilot episode. It seems as though the ideas that had been planned for the abandoned series are still influencing the direction of the starship, with characters being set up for future episodes – as if the film is holding onto the possibility that it could become a TV show.

Star Trek” is a collection of films and TV shows; the early movies, such as those based on “The Original Series” and “Next Generation,” essentially brought the small-screen stories onto the big screen, allowing us to continue following the journeys of our beloved, established characters – it’s like reconnecting with old friends across various starship voyages. These films can be seen as official fan-made continuations. The TV series that came after “The Original Series” have the benefit of time, enabling them to develop a rich universe, flesh out characters, establish relationships, and overcome any initial skepticism from fans.

In “Section 31,” we undeniably take an interest in Georgiou, who shares a past with us and was last seen during “Discovery” Season 3, bidding farewell to science officer Michael Burnham at the edge of a time portal. This portal would transport Georgiou back to a time when the Prime and Mirror Universes were still connected, in an attempt to save her life. (Take a moment to catch your breath.) It’s a genuinely moving scene – something that “Trek” excels at. They invest effort; they generate emotion.

Television

Alex Kurtzman, the mastermind behind the present ‘Star Trek’ universe, sheds light on the final episode of ‘Discovery’ and offers hints about upcoming storylines for ‘Starfleet Academy’ and ‘Section 31.’

In an alternate universe infamous for its lawless inhabitants, Georgiou reigned as a ruthless empress over the Terran Empire. Known as “Her Most Imperial Majesty, Mother of the Fatherland, Overlord of Vulcan, Dominus of Kronos, Regina Andor, Philippa Georgiou Augustus Iaponius Centarius,” her rise to power is a complex tale. The narrative suggests she might have won a cosmic competition for villainy, or perhaps gained the throne by beheading her predecessors, much like Arthur had to prove himself after pulling the sword from the stone. Though this dark past is meant to evoke sympathy for her character, it was during her time aboard the starship Discovery, interacting with kind-hearted individuals, that Georgiou started to show signs of warmth and endearment, making her almost lovable by the time she stepped through the portal.

Intriguingly, Georgiou might astonish you as she seemingly slips back into narcissistic behavior, managing a rendition of Rick’s Cafe Américain situated in the borderlands beyond Federation Space during the 23rd century, under the pseudonym Madame du Franc and utilizing some French. The narrative, reminiscent of a “Mission: Impossible” episode opening, reveals that following her return to 2257 from the 32nd century, she associated with Section 31 for a spell before mysteriously vanishing. This seems contradictory since Georgiou was previously established as a Section 31 agent during the second season of “Discovery.” This temporal conundrum, I must admit, leaves me quite perplexed. Time travel can indeed confound one’s thoughts if not managed properly.

In this particular gin bar, among all the bars across the cosmos, strides the Section 31 Alpha Team, assigned with handling tasks that would be inappropriate for the Federation to publicly perform. (“Dirtying their hands” is an apt description here.) Their objective is to acquire a new terrorist device known as a hypergizmo – though its specific nature remains unknown, they are aware that it’s dangerous and could potentially surface on the black market there.

Frequently bickering and occasionally trading barbs, these agents appear more akin to The Dirty Dozen than the Impossible Mission Force (a motley group indeed, for any mission aimed at preserving the universe). Team captain Alok (Omari Hardwick) is a 20th-century Earthling transformed into an “augment” during the Eugenics Wars, spending centuries in slumber. Quasi (Sam Richardson), a Chameloid shapeshifter, mirrors his formless nature by being paralyzed when confronted with too many choices. Zeph (Robert Kazinsky) is a man encased in a large mechanical exoskeleton, earning the comparison to a Swiss Army Knife from Georgiou, implying that this iconic brand will endure into the distant future.

In this rephrased version:

Fuzz (Sven Ruygrok), who seems to be a Vulcan yet prone to laughter and anger, is actually a tiny organism controlling a Vulcan vessel; Melle (Humberly González), reminiscent of Persis Khambatta in “Star Trek: The Motion Picture,” primarily serves to add an exotic touch; and Rachel Garrett (Kacey Rohl), a nod to “The Next Generation,” is tasked by Starfleet to maintain order and prevent homicides. However, Georgiou comments, “Beneath that innocent exterior, you’re really a mischief-maker at heart, aren’t you?”

This new version retains the original’s information while making it more accessible and easier for readers to understand.

Hey there! As a fellow film enthusiast, let me share my take on that intriguing scenario:

“Listen, Georgiou, I’m extending an invitation to you. Instead of keeping your talents confined to the everyday, I’m offering you an opportunity to leap back into the grandeur of cosmic adventures. You know, where you’re not just serving drinks, but shaping destinies! If you’re up for it, “Section 31″ promises a rollercoaster ride.

Expect thrilling martial arts duels, otherworldly dance floors pulsating with alien rhythms (sadly, still Auto-Tune), high-speed chases reminiscent of multiple ‘Indiana Jones’ escapades, sparks and flames galore, the usual techno-jargon, quick fixes, and genius last-minute solutions. And yes, a flying garbage truck! Are you ready to dive back into the action?”

Now, let’s see where this journey takes us next!

As a film enthusiast, I found “Star Trek: Section 31” to be an intriguing blend of humor and melancholy, reminiscent of the classic “Star Trek” series. The show starts with a quote from Aeschylus, setting a philosophical tone, while the debate over whether the device they seek is called “Godsend” or “God’s End” adds a touch of wit to the narrative. However, I felt that the comedy flowed more naturally from the characters, whereas the tragedy seemed more forced upon them. If the series had maintained its comedic momentum throughout, it could have been a real rollercoaster ride.

The movie we have here is entertaining, but can also be slightly aggravating at times. Yeoh, as always, delivers an exceptional performance, no matter the role she’s given. She’s simply enjoyable to watch. Richardson, with a resemblance to his character from “The Afterparty,” consistently adds value to the cast. However, the ensemble seems isolated, as if they’re waiting for something that may never materialize – a sequel episode, hinted at by the ending, with more episodes to follow in quick succession, rather than the numerous years it would take for a feature film sequel to be made, should one ever be produced.

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2025-01-24 08:34

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