[7.2/10] Libraries are cool. Mindscapes are cool. Inventively-dramatized journeys of self-discovery are cool. The main project of “Labyrinths”, the last episode of Discovery before we (presumably) dive into the Progenitor tech isn’t perfect, but it’s an engrossing, individual story that works on its own merits. The same can't be said for the narrative piece-moving and unavailing bad guy shit that surrounds it.
So let’s start with the good stuff. The Eternal Gallery and Archive may very well be the coolest setting Discovery has introduced. Like most Star Trek fans, I am a giant nerd. So the prospect of an enormous intergalactic library, replete with stacks and stacks of artifacts and knowledge from across the galaxy has a real wish-fulfillment factor to it. As with the Federation library known as Memory Alpha, and even the wild alien library in 1969’s “All Our Yesterdays”, there’s something neat about the idea of a repository of knowledge floating around in space somewhere.
But I also like the conception of this particular knowledge base. The sense of the Archive as a neutral territory, full of committed but quirky caretakers, gives it a real character beyond simply being some random book storage facility. Archivist Hyrell in particular is a pip, giving you this sense of being bubbly but deadly. The way she and her cohort seem earnest about the mission of this place, but also just a bit off, makes it a neat backdrop for Discovery’s adventures, and one of the show’s most memorable locales.
Not for nothing, I’m almost as much of a sucker for a “journey into the mind” episode as I am for a “let’s go visit an ancient library with crucial knowledge” episode. (Hello again, Avatar: The Last Airbender fans!) In truth, Star Trek has a spotty track record with those “inner journey” installments. For every “The Inner Light”, there’s an episode where Dr. Bashir encounters rote representations of his psyche, or worse yet, Captain Archer has bad dreams in sick bay.
Still, the chance to get a little more impressionistic, use the sci-fi conceit to dig into what makes our characters tick, is always welcome despite that. In this case, I like the notion that the Betazoid scientist, as much as any of them, would be focused on the emotional well-being of the seeker of the Progenitor tech, makes sense. While the little morals at the end of the other quests have seemed pretty facile, the notion that the scientists who hid the technology would want whoever possesses it to be centered and self-aware, not just skilled and resourceful, adds up.
In truth, the exploration of Burnham’s mind, represented by the library, when she’s ensnared by the scientist’s little device, feels a bit shaggy in places. There’s not really a sense of build: from Michael’s attempts to use the card catalogue, to her maze running experience, to her angry recriminations at her guide, to her eventual epiphany and confession. The sense of momentum isn’t quite there.
But in the show’s defense, I think that's kind of the point. Burnham sees this as just another problem to be solved, just another mission, when she needs to look inward. Having the audience share her frustration by watching her problem-solving methods amount to nothing is a risky move, but I think it pays off in the end. We get invested in the cockamamie solutions just as much as Burnham does, which makes it easy to feel like we’re being toyed with in the same way that she is.
What helps keep the interest and fun quotient up is an amusingly arch incarnation of Book, who livens the experience. I’ll confess, I’ve gotten kind of tired of Book. I’m not particularly invested in his relationship with Michael; I’m even less invested in his relationship with Moll, and his efforts to make amends for his actions last season are good in theory, but a little perfunctory in practice.
“Labyrinths” is a reminder that these problems with the character are the creative team’s fault, not David Ajala. He has a real presence as an actor, and you see it in the wry, almost sardonic tone he takes as the Betazoid program guide who shepherds Michael along through the various clues. It’s a fun, less labored edge than we normally get from Book, and if anything, he plays off Michael better in that guise than when they’re supposed to be familiar confidantes.
The icing on the cake comes in the scene where Book sees a Kwejian artifact the Archive has been holding onto, and is visibly moved to see it again. It’s a reminder that Book may not be the greatest character, but Discovery’s still lucky to have Ajala on the team.
In the same vein, I think my favorite element of the episode is how willing the creative team is to let Sonequa Martin-Green carry the main story of the episode on her own. In truth, Bunrham’s epiphany is no great shakes. Her admission that she has a fear of failure, of letting her friends and loved ones down, a guilt over having perhaps let Book down, is solid but trite. You can see how a daughter of Sarek would grow up with a “not good enough” complex, with insecurities about whether people will still appreciate her if she’s not able to succeed at what she sets out to do. It turns some subtext into text, and it’s not groundbreaking, but it shows understanding of the character below the surface level, and it makes sense that self-knowledge, down to fears and guilt, would be a core feature of how the scientists would deem somebody worthy of their prize.
But the coolest part of the whole damn thing is that they just let Martin-Green roll with it. Normally for these big speeches, there’s swelling music, and a dozen reaction shots, and all the tricks of the cinematic trade to puff them up. Here, the music is low or absent entirely. The majority of it is unbroken, unshowy shots of Burnham at the table. And the core of the scene comes through in the performance. Here is the show’s star, allowed to build to this critical self-insight for the character, unadorned with anything but her own strength as a performer. Martin-Green does a good job with the material, and more than anything it’s nice to see Discovery go back to the essentials for such a pivotal moment for Michael.
It’s a shame, then, that pretty much everything else in the episode is meh-to-bad. In the meh department, Rayner, Book, Dr. Culber and the rest of the crew trying to solve the problems in the real world comes off like narrative wheel-spinning. This is modern Star Trek, so it’s not enough for Burnham to be going on this odyssey of the mind. Instead, she has to be subject to a “If you die in the Matrix, you die in real life” conceit, and the Breen are bearing down on the Archive, and Discovery has to hide in the badlands (hello Maquis fans!).
Again, none of this is outright bad. A ticking clock is not a bad thing in Star Trek. And standard issue as the setup may be, at least the B-team gets a little time to shine this season, with Commander Rhys manning the con. But the breathless declarations of who needs to be saved, and FPS-style combat with the Breen, and last second getaways all play like the usual block and tackle from Discovery at this point in its run.
What is bad is the business with Moll and the Breen. Look, I get that not every enemy species has to be some misunderstood alien race who are Not So Different:tm: than humanity. But without Dominion allies, the Breen are a bunch of boring boogeymen who do nothing but growl and grunt and fire on underpowered foes. Seeing Ruhn and his ilk roar about avenging the scion and destroying their enemies gets old fast. Right now, they’re about one step above Saturday morning cartoon villains by way of depth and intrigue. (And I’m not talking about the underrated Star Trek: The Animated Series.)
The only thing less availing is Moll. Look, the show does its best to explain why a random human could become the leader of a Breen faction. Her nursing a claim that she’s the wife of the scion, and seeding the idea that Ruhn doesn’t care about his subordinates is something, I guess. But it plays as awfully convenient that the xenophobic Breen would follow Moll into battle. And the performer continues to be unconvincing in her ability to make Moll seem like a tough-as-nails manipulator who could pull this sort of thing off.
The villain of the season just needs an army to make the race to the final clue more dangerous, so she gets one, whether it makes sense or not. Throw in the fact that the show’s aesthetic and design choices make it seem like the Breen warriors have been copied and pasted onto a big screen saver, and you have the antagonistic half of the show underwhelming to an annoying degree.
What can you say? Even as it nears its end, Discovery has potential. When it leans into inviting settings, inventive character explorations, and more stripped down approaches to exploring the meaning of this mission and Burnham’s personal journey, you see the promise that's always been there. When it breaks down into being a weekly action movie full of snarling and/or unconvincing villains, you see what’s long held it back. Hopefully the final leg of the mission will embrace more of the coolness at the core of an episode like “Labyrinths”, and less on the eyeroll-worthy junk on the edges of the story.
Review by Andrew BloomVIP 9BlockedParentSpoilers2024-05-16T14:37:59Z
[7.2/10] Libraries are cool. Mindscapes are cool. Inventively-dramatized journeys of self-discovery are cool. The main project of “Labyrinths”, the last episode of Discovery before we (presumably) dive into the Progenitor tech isn’t perfect, but it’s an engrossing, individual story that works on its own merits. The same can't be said for the narrative piece-moving and unavailing bad guy shit that surrounds it.
So let’s start with the good stuff. The Eternal Gallery and Archive may very well be the coolest setting Discovery has introduced. Like most Star Trek fans, I am a giant nerd. So the prospect of an enormous intergalactic library, replete with stacks and stacks of artifacts and knowledge from across the galaxy has a real wish-fulfillment factor to it. As with the Federation library known as Memory Alpha, and even the wild alien library in 1969’s “All Our Yesterdays”, there’s something neat about the idea of a repository of knowledge floating around in space somewhere.
But I also like the conception of this particular knowledge base. The sense of the Archive as a neutral territory, full of committed but quirky caretakers, gives it a real character beyond simply being some random book storage facility. Archivist Hyrell in particular is a pip, giving you this sense of being bubbly but deadly. The way she and her cohort seem earnest about the mission of this place, but also just a bit off, makes it a neat backdrop for Discovery’s adventures, and one of the show’s most memorable locales.
Not for nothing, I’m almost as much of a sucker for a “journey into the mind” episode as I am for a “let’s go visit an ancient library with crucial knowledge” episode. (Hello again, Avatar: The Last Airbender fans!) In truth, Star Trek has a spotty track record with those “inner journey” installments. For every “The Inner Light”, there’s an episode where Dr. Bashir encounters rote representations of his psyche, or worse yet, Captain Archer has bad dreams in sick bay.
Still, the chance to get a little more impressionistic, use the sci-fi conceit to dig into what makes our characters tick, is always welcome despite that. In this case, I like the notion that the Betazoid scientist, as much as any of them, would be focused on the emotional well-being of the seeker of the Progenitor tech, makes sense. While the little morals at the end of the other quests have seemed pretty facile, the notion that the scientists who hid the technology would want whoever possesses it to be centered and self-aware, not just skilled and resourceful, adds up.
In truth, the exploration of Burnham’s mind, represented by the library, when she’s ensnared by the scientist’s little device, feels a bit shaggy in places. There’s not really a sense of build: from Michael’s attempts to use the card catalogue, to her maze running experience, to her angry recriminations at her guide, to her eventual epiphany and confession. The sense of momentum isn’t quite there.
But in the show’s defense, I think that's kind of the point. Burnham sees this as just another problem to be solved, just another mission, when she needs to look inward. Having the audience share her frustration by watching her problem-solving methods amount to nothing is a risky move, but I think it pays off in the end. We get invested in the cockamamie solutions just as much as Burnham does, which makes it easy to feel like we’re being toyed with in the same way that she is.
What helps keep the interest and fun quotient up is an amusingly arch incarnation of Book, who livens the experience. I’ll confess, I’ve gotten kind of tired of Book. I’m not particularly invested in his relationship with Michael; I’m even less invested in his relationship with Moll, and his efforts to make amends for his actions last season are good in theory, but a little perfunctory in practice.
“Labyrinths” is a reminder that these problems with the character are the creative team’s fault, not David Ajala. He has a real presence as an actor, and you see it in the wry, almost sardonic tone he takes as the Betazoid program guide who shepherds Michael along through the various clues. It’s a fun, less labored edge than we normally get from Book, and if anything, he plays off Michael better in that guise than when they’re supposed to be familiar confidantes.
The icing on the cake comes in the scene where Book sees a Kwejian artifact the Archive has been holding onto, and is visibly moved to see it again. It’s a reminder that Book may not be the greatest character, but Discovery’s still lucky to have Ajala on the team.
In the same vein, I think my favorite element of the episode is how willing the creative team is to let Sonequa Martin-Green carry the main story of the episode on her own. In truth, Bunrham’s epiphany is no great shakes. Her admission that she has a fear of failure, of letting her friends and loved ones down, a guilt over having perhaps let Book down, is solid but trite. You can see how a daughter of Sarek would grow up with a “not good enough” complex, with insecurities about whether people will still appreciate her if she’s not able to succeed at what she sets out to do. It turns some subtext into text, and it’s not groundbreaking, but it shows understanding of the character below the surface level, and it makes sense that self-knowledge, down to fears and guilt, would be a core feature of how the scientists would deem somebody worthy of their prize.
But the coolest part of the whole damn thing is that they just let Martin-Green roll with it. Normally for these big speeches, there’s swelling music, and a dozen reaction shots, and all the tricks of the cinematic trade to puff them up. Here, the music is low or absent entirely. The majority of it is unbroken, unshowy shots of Burnham at the table. And the core of the scene comes through in the performance. Here is the show’s star, allowed to build to this critical self-insight for the character, unadorned with anything but her own strength as a performer. Martin-Green does a good job with the material, and more than anything it’s nice to see Discovery go back to the essentials for such a pivotal moment for Michael.
It’s a shame, then, that pretty much everything else in the episode is meh-to-bad. In the meh department, Rayner, Book, Dr. Culber and the rest of the crew trying to solve the problems in the real world comes off like narrative wheel-spinning. This is modern Star Trek, so it’s not enough for Burnham to be going on this odyssey of the mind. Instead, she has to be subject to a “If you die in the Matrix, you die in real life” conceit, and the Breen are bearing down on the Archive, and Discovery has to hide in the badlands (hello Maquis fans!).
Again, none of this is outright bad. A ticking clock is not a bad thing in Star Trek. And standard issue as the setup may be, at least the B-team gets a little time to shine this season, with Commander Rhys manning the con. But the breathless declarations of who needs to be saved, and FPS-style combat with the Breen, and last second getaways all play like the usual block and tackle from Discovery at this point in its run.
What is bad is the business with Moll and the Breen. Look, I get that not every enemy species has to be some misunderstood alien race who are Not So Different:tm: than humanity. But without Dominion allies, the Breen are a bunch of boring boogeymen who do nothing but growl and grunt and fire on underpowered foes. Seeing Ruhn and his ilk roar about avenging the scion and destroying their enemies gets old fast. Right now, they’re about one step above Saturday morning cartoon villains by way of depth and intrigue. (And I’m not talking about the underrated Star Trek: The Animated Series.)
The only thing less availing is Moll. Look, the show does its best to explain why a random human could become the leader of a Breen faction. Her nursing a claim that she’s the wife of the scion, and seeding the idea that Ruhn doesn’t care about his subordinates is something, I guess. But it plays as awfully convenient that the xenophobic Breen would follow Moll into battle. And the performer continues to be unconvincing in her ability to make Moll seem like a tough-as-nails manipulator who could pull this sort of thing off.
The villain of the season just needs an army to make the race to the final clue more dangerous, so she gets one, whether it makes sense or not. Throw in the fact that the show’s aesthetic and design choices make it seem like the Breen warriors have been copied and pasted onto a big screen saver, and you have the antagonistic half of the show underwhelming to an annoying degree.
What can you say? Even as it nears its end, Discovery has potential. When it leans into inviting settings, inventive character explorations, and more stripped down approaches to exploring the meaning of this mission and Burnham’s personal journey, you see the promise that's always been there. When it breaks down into being a weekly action movie full of snarling and/or unconvincing villains, you see what’s long held it back. Hopefully the final leg of the mission will embrace more of the coolness at the core of an episode like “Labyrinths”, and less on the eyeroll-worthy junk on the edges of the story.