Captain Pike comes aboard Discovery with new orders for the crew…

I’ll preface this by saying that my immediate reaction on watching this opening episode of season 2 was to head straight back to the start and rewatch it – it’s the first time an episode of Star Trek has done that in many, many years.

For those who have loved Discovery from the start, it’s a continuation of all that worked well last year, with consequences from the war and their trip to the Mirror Universe, but with a new energy.

Part of that comes from the introduction of Anson Mount’s Captain Pike. The fourth actor to play the Enterprise captain on screen, Mount brings the different style of command that Jeffrey Hunter had in the original Star Trek pilot, combined with some of the steel of Bruce Greenwood’s interpretation in the movie. (The tragedy of what lies ahead for him hasn’t yet been foreshadowed, but I have no doubt that will come.) He’s a very different captain from Lorca and the Discovery bridge crew take a bit of time to adjust to it – but he feels at home in the centre seat, even if his “new” uniform clashes with all those around.

The centre of the episode continues to be Michael Burnham and Sonequa Martin-Green once again demonstrates fresh sides to the character. She knows what her past mistakes have led to, and she’s determined not to repeat them. Her friendship with Tilly remains core – and Mary Wiseman herself gets plenty of opportunity to show Tilly’s caring and sillier sides (the scene between her and Anthony Rapp’s Stamets is heartrending).

Alex Kurtzman’s direction is suited to the more cinematic nature of the visuals – there’s always been a gloss to Discovery, but this episode does feel like a short feature film. There’s an action sequence through asteroids that feels as if Kurtzman has finally got the “going from ship to ship” bit out of his system – playing with a couple of Star Trek tropes along the way – and he knows when to let Jason Zimmerman and his visual effects team have their head, and when to bring things in close on the characters.

And that’s before any discussion of the presence of Spock in this episode, or indeed the Red Angel that appears to Michael just when she thinks all is lost. They’re both things for another day (having had the chance to preview the first three episodes), but they’re both important factors in setting up the mysteries of the season… and the title doesn’t simply refer to our favourite Vulcan…

Verdict: Coming out of the gate with a terrific blend of action, humour and character, this is one of my favourite episodes of Star Trek ever – and a great start to season 2. 10/10

Paul Simpson

Unlike Paul, I haven’t yet been able to watch this episode again, but it’s definitely on my to-do list for two reasons.

Firstly, it’s just that good. There’s so much to praise here, from Michael’s opening monologue played over archive footage of real world space missions; a level of Visual FX polish that wouldn’t look out of place in a modern blockbuster; and a genuine breadth of emotion running a gamut from tear-jerking to rib tickling to punching-the-air-with-glee moments, this is one hell of an episode.

All the characters you know and love are back and exactly as you remember them – Tilly is earnest and slightly manic but also heartwarming and basically the emotional centre of the crew. Saru is calm, dignified but capable of the odd bit of snark when roused. Michael is determined and conflicted, her natural hotheaded nature always in opposition to her clinical, logical Vulcan upbringing and Stamets is just Stamets, all cold harsh snark serving as a thin veneer over an enlightened and passionate scientist staring in wonder at the universe.

Anson Mount’s Christopher Pike brings a whole new vibe to the ship and the show. Very different in style and outlook to Lorca, he’s an instantly likeable character who nevertheless shows the necessary steel and decisiveness for his rank when it’s required. I’m a fan of Mount’s after his being one of the few watchable parts of the otherwise risible Inhumans, and thankfully here the material and the surrounding cast are more than equal to his skillset as a physical actor.

And there’s an honest to goodness quest for the crew in this opener, which serves both as a thing for the crew to do in and of itself as well as a setup for the clear narrative arc the season plans to follow. This may tie in with Michael’s adoptive brother, conspicuous here in the absence the writers use to great advantage to further illustrate the relationships between Michael and Sarek, and Michael and Amanda, as well as a bit more about Michael’s own character and how it has been moulded by the tribulations and tragedies of her past.

And tying it all in beautifully is a lived-in, authentic feel to this post-war galaxy, still recovering from the cataclysmic conflict with the Klingons and adjusting to the peace that has now uneasily filled that vacuum. Every war has its survivors as well as its casualties, and sometimes it can be difficult to separate the one from the other – here the show illustrates that well.

But the other reason I need to watch this episode again is just that there is so much going on. Seriously, there are dense pieces of dialogue between characters, multiple threads, a fast-pace of events – all things that keep you just hanging on at the edge of mostly taking it all in but knowing that you’ll be rewarded for seeing it again. Honestly, it’s difficult to find a single flaw here – this is genre TV at its very best.

Verdict: Punchy, weighty and almost obscenely good, Discovery hits the ground running with the confidence of a show twice its age. Every scene tells you something, and every character (new and old) is a joy to watch. Superb. 10/10

Greg D. Smith