Our previous end-of-year best lists mainly focused on films because there is too much TV to get even close to a definitive list. However, this year there were too many good shows out there not to engage with them.
So this year, we will look at all the shows we reviewed last year, SEE HERE, and pick our Top 10 of the 34 shows we reviewed. For a show to count, it needed to end its run or season in 2022.
You can use many techniques to help build your world, ground your setting, or give dimensions to your characters. You can use music and create elaborate sets, but one of the best ways is through the costumes you make.
People instantly judge a character within moments on the screen, and the outfits are essential to that first impression. More than this, you can also use costumes as a way of storytelling. What do they say about this world? What do they say about how a character is progressing?
Costumes can build worlds and tell us details we can only see, but also they can make us say, ‘hot damn’, look at that beading on that dress. That must have taken hours to do! So without further ado, these costumes made us say ‘hot damn’ in 2022. Be warned that there may be slight spoilers for the films in question.
TL;DR – One of the strongest opening seasons I have seen, jumping from genre to genre like it was nothing
Disclosure – I paid for the Paramount+ streaming service that viewed this episode.
In 2019, I wrote about how we were entering ‘A New Golden Age of Science Fiction on Television’ and back then, we only had Discovery and the coming Picard. We had no idea of the explosion of Star Trek that was about to come our way, and at the core of that new wave was the announcement of Strange New Worlds, a show that would explore Captain Pike’s time at the helm of the USS Enterprise. Another prequel series led to more than a bit of concern, but now that we have seen it, I can say this might be one of the best opening series of Television that I have seen in an age.
So to set the scene, after the event of Star Trek Discovery: Such Sweet Sorrow Part 2, Pike (Anson Mount) has been hiding out in his cabin in Bear Creek, Montana. He has been dealing with the revelation that he will be badly wounded in the future. To the point, he is very much considering leaving Starfleet. That is until Admiral Robert April (Adrian Holmes) takes a shuttle and unambiguously tells Pike that Number One (Rebecca Romijn) is missing and if he wants to leave, he can do it after this. Well, one, unfortunately, timed phone call to Vulcan to pick up Spock (Ethan Peck), and the Enterprise is on to Kiley 279 to find out what happened to the USS Archer. Now from here, we will be looking at the episode as a whole, so there will be some [SPOILERS] ahead.
TL;DR – An outstanding pilot episode that takes us back on board the USS Enterprise and into the universe.
Disclosure – I paid for the Paramount+ streaming service that viewed this episode.
It has been a long road getting from there to here as Star Trek takes a second chance to bring The Cage [1964] and Captain Pike (Anson Mount) to life. When we saw the USS Enterprise and its crew arrive in the second season of Star Trek Discovery, the potential was instantly there. The question is, could they actually pull it off? And if this episode is anything to go on, the answer is yes.
So to set the scene, it has been a while since the events of Such Sweet Sorrow Part 2, and Pike has been hiding out in his cabin in Bear Creek, Montana. He has been dealing with the revelation that he will die badly ten years from now. To the point, he is very much considering leaving Starfleet. That is until Admiral Robert April (Adrian Holmes) takes a shuttle and unambiguously tells Pike that Number One (Rebecca Romijn) is missing and if he wants to leave, he can do it after this. Well, one, unfortunately, timed phone call to Vulcan to pick up Spock (Ethan Peck), and the Enterprise is on to Kiley 279 to find out what happened to the USS Archer. Now from here, we will be looking at the episode as a whole, so there will be some [SPOILERS] ahead.
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freelance film critic with an interest in multilingualism, feminist perspectives in cinema and crime dramas.
For the Relentless Criticism of All Existing Conditions Since 2010
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