Why Michael Burnham’s ‘Crying’ and Voice Are Distracting in Star Trek: Discovery
Why Michael Burnham’s ‘Crying’ and Voice Are Distracting in Star Trek: Discovery
For many fans, the character of Michael Burnham in Star Trek: Discovery is a source of frustration. While some may appreciate the emotional journey of Burnham, others find her frequent cries and condescending voice to be off-putting. In this article, we’ll examine the reasons behind Burnham's character portrayal, analyze the show's writing style, and discuss the impact of the character development on the overall viewing experience.
The Problem with Burnham’s Voice and Crying
The primary issue many viewers have with Michael Burnham isn’t the character’s cries per se, but rather the delivery of her lines. Burnham's voice often sounds condescending, which detracts from the emotional weight of the scenes. Ironically, fans have suggested a simple solution: just muting Burnham's voice would make the show more enjoyable. However, this critique sheds light on the deeper issues with the show's character portrayal and writing style.
Character and Story Development
Earlier in the series, Burnham was portrayed as having Vulcan traits: she was stoic, disciplined, and logical. This was evident in her interactions and decision-making. However, the show's writers seemingly changed course, introducing a significant shift in Burnham’s character. The decision to introduce Vulcan blood and a connection to Spock as Burnham's sister seems to have completely altered her demeanour and emotional responses.
Now, in the later episodes, Burnham frequently breaks down in tears, a change that has irked many fans. To some, this represents a failure in character consistency and emotional control. The show seems to prioritize emotional and socially-orientated narratives over the traditional space adventures fans have come to expect from Star Trek.
The Role of Emotion in Writing
The intense emotional content and melodrama in Star Trek: Discovery are deliberate choices made by the showrunners, who are heavily influenced by contemporary storytelling trends. The writing focuses more on delivering socially relevant messages rather than on traditional adventure stories, which is a notable departure from earlier Star Trek series like The Original Series (TOS) or The Next Generation (STNG).
Some argue that the emotional writing techniques are necessary to elicit a strong emotional connection from the audience. The writers may be trying to create a deeper, more resonant interaction with the characters, but the methods they employ—including Burnham’s frequent crying scenes—seem to fall short of achieving this goal effectively. The critiqued emotional outbursts, delivered through a voice that many find condescending, fail to convey the intended emotional depth.
The Production and Writer's Intentions
Production-wise, there are a few possible explanations for why Burnham's character is portrayed in this manner. In-Universe, it could be argued that Burnham has repressed her emotions for years, making them burst out unexpectedly. On a production level, it’s possible that the writers are aiming to evoke a strong emotional response from the audience. What some perceive as third-rate writing, others see as a deliberate choice to drive a specific emotional effect.
Another theory is that the writing is intentionally designed to be divisive, perhaps to alienate certain fans who find her portrayal personally irritating. This doesn’t excuse the poor writing, but it does offer a perspective on the show's intent.
Conclusion
Michael Burnham’s portrayal in Star Trek: Discovery is a complex issue. While the show has received low ratings, its writers seem to be committed to a specific narrative approach. Whether this approach resonates with fans is a matter of individual interpretation. For those who find the emotional writing and Burnham's voice off-putting, muting her lines might indeed make the show more enjoyable. Ultimately, the success of the series depends on the balance between the desired emotional impact and the storytelling itself.
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