Feel free to skip the overwrought metaphor

Well there goes 90% of the show, so no, you get the long version now.

We’re both standing in the middle of a soundstage (lit like a European discotheque), and you whisper-talk at me at a volume 0.01% louder than the score:
“I’d love to hear some of these examples of bad writing in the show! You can feel free to skip all of the overwrought metaphors.”
and I respond
“Well if I skip the ‘overwrought metaphors’, I seriously doubt I’ll have anything left to talk about!” then you say something about how hard this is on you emotionally, I quietly affirm that I’m here for you, then you bitterly reject it, and then I pinch off a pithy-sounding bon mot that’s actually nonsense, and walk off, leaving you standing stock-still in the grip of Powerful Emotions. Then we repeat all of this six more times, taking breaks for vomit-inducing scenes where 15,000 suicidally depressed animators shove every single item in the effects library onto the screen.

But seriously, I know you’re just sea lioning. It’s not possible to ask that question in good faith. Imagine if I snottily asked you to give me an example of bad writing in 1994’s It’s Pat, you would tell me “uh, fucking everything, piss off” and you’d be right to.

I have to strongly disagree with your premise there. Star Trek and Starfleet do have a singular underlying theme throughout, as defined by Gene Roddenberry. Yes, each series is different, but there is a thread throughout that binds them, a code of morals that someone in the crew always brings everyone back to every episode, even if a character strays. Even the other species have their traits that generally stay consistent. This maybe started to diminish with DS9 and Voyager, after Roddenberry passed, however others don’t quite grab a hold of that thread well at all - specifically Enterprise and Discovery. The J J Abrams films also somewhat, although they follow TOS closely enough that it still fits.

It’s not the action/flashy scenes (which were never what made Star Trek great, and frankly HDR and bloom are all too often overdone these days, like if Michael Bay did lens flare), it’s the interactions between the characters. And overall it’s a feeling, something that’s really hard to put into words, but recognisable when it’s there.

As for ‘teeny sci-fi show’, why?

Again, the interactions between the characters. You’ll have to forgive me for not having it fresh in my memory, I haven’t seen Discovery for a while (dropped Sky TV and with that lost the only device logged into my mum’s Netflix) but generally to me it felt like most other CBS shows in the way characters interact, and how so many of them focus on hooking up with each other to the detriment of their duties. It’s cheap and lazy drama, in my eyes. SNW even still has a little of this around Spock, but in general it feels like CBS finally listened and relaxed on the reins a little bit, allowing it to be a “proper” Trek show.

You did bring up a bunch of things in your previous comment that make me want to go back and re-watch Discovery, though, so I’ll be doing that soon.

Lastly, if it’s a “good show overall” then why did you literally open with saying that Pike was “THE redeeming factor” of the show?

Because I was speaking in hyperbole.

I am… Not unaroused.