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Why Star Trek’s Attempt To Win Over Younger Audiences Is Doomed To Fail

By Chris Snellgrove
| Published

Starfleet Academy is Star Trek’s newest show, and it is aimed squarely at a younger audience than any live-action franchise show before it. Paramount’s goal with this series is quite simple: while appealing to older fans, they are hoping these young characters and their various onscreen antics will reach Generation Z, effectively growing what has become an older and somewhat stagnant fanbase. Unfortunately, these efforts are doomed for a simple reason: the humor in Starfleet Academy is written by Millennials who are patently terrible at writing for a Zoomer audience.

There has been extensive criticism of the language used in Starfleet Academy because these 32nd-century characters talk exactly like 21st-century Zoomers. Cadets constantly refer to each other as “bruh” and “b*tch,” instructors refer to annoying situations as “dumpster fires,” the digital dean talks about cadets getting hangry, and so on. Such dialogue is completely different than in any previous Trek show, and it’s paired with youth-centric plots about getting drunk, hooking up, and pulling pranks on rival students.

The Failed Defense of Starfleet Academy

Whenever anyone criticizes any of this, defenders will usually dust off one of two different arguments. The first (one even Robert Picardo has used) is that, because these characters are so young, we should expect them to speak and act very differently from the trained and seasoned Starfleet officers we have seen onscreen before. The second defense is that we should respect that Paramount is trying to appeal to a new audience, which is important because the primary Star Trek fandom ain’t getting any younger.

Historically, Starfleet Academy critics like myself have focused on the absurdity of the first defense; for example, it’s fine to have younger characters speak more unprofessionally than their older peers, but that doesn’t explain why these 32nd-century characters inexplicably talk like characters from the 21st century. Today’s Zoomers speak very differently from their parents and other older people, but that doesn’t mean they are dusting off slang from 1,100 years ago. However, it’s well past time we dissect the problem with the second defense: namely, that Paramount is doing all of this to create younger Star Trek fans.

Bursting Fanboys’ Bubble

The essential problem with Starfleet Academy’s writers trying to script Zoomer-style dialogue is that a Millennial-led writing staff will never be able to convincingly write like younger people. Pretty much any attempt to do this results in instant cringe. Unfortunately, most of the worst humor in this new Star Trek show comes from older writers trying to create convincing Zoomer dialogue by badly recycling Millennial humor and calling it a day.

For example, one of the clunkier lines from the first episode of Starfleet Academy is Darem’s “I’m Khionian, b*tch.” Ever ask yourself why this really sounds so out of place coming out of this young actor’s mouth? It’s because this kind of dialogue was popularized by Britney Spears (“it’s Britney, b*tch!”) back in 2007, before most Millennials quoting Britney had gotten their first smartphone.

Star Trek Does The Time Warp (Again)

In the most recent episode of Starfleet Academy, the digital dean, voiced by Stephen Colbert, uses the phrase “morning wood” before chuckling in pleasure at his own penis reference. For context,  morning wood jokes were at their (ahem) peak in the ‘90s, with Office Space featuring “the Morningwood Condominiums” and Beavis and Butt-Head featuring an episode called “The Mystery of Morning Wood.” Forget appealing to Zoomers, this gag was written by and for the same Millennials that laughed along with Beavis and Butt-Head, which is likely why that same episode has a bizarre punchline featuring a farting fish.

My point is simple: Starfleet Academy has a writer’s room full of Millennials (including Lower Decks legend Tawny Newsome), and they are trying to appeal to younger viewers by including what Millennials liked when they were younger. That’s why bad guys like Nus Braka speak like ‘90s action villains (“Payback’s a b*tch!”) and the good guys are nerds trying to win prank wars with bullies (it’s basically Revenge Of The Nerds in space). This is why Chancellor Ake is hundreds of years old and often acts like a child: she’s an eternal reminder of the Millennial mantra that adulting is hard, guys!

Star Trek’s Comeback Has Already Failed

This is why Starfleet Academy’s attempt to appeal to younger viewers is ultimately doomed to fail. Actual Zoomers will reject all of this Millennial humor in a heartbeat; in fact, it wasn’t that long ago that Zoomers on TikTok were relentlessly mocking Millennial comedy for being so old and out of touch. Meanwhile, older audiences (like the Millennial-hating Boomers who keep Paramount staples like NCIS on the air) will instantly reject youth humor of any stripe, especially when it involves characters vomiting glitter like a background character in an anime (yes, this really happened!).

As for actual Millennials, most of us are still put off by Starfleet Academy’s humor because it feels completely out of place in Star Trek. Literally no fan my age has ever taken a look at the franchise and decided everything would be much better if it were written by people who thought The Office was the funniest thing ever written. Unfortunately, all the writers of this new spinoff can give us is tired vulgarity and try-hard quirks that might have been funny back before the freakin’ housing crisis.

Paramount may still get the last laugh and attract a legion of young viewers, but that’s unlikely: recently, Starfleet Academy quietly slipped out of the Top 10 rankings on Paramount+. As it turns out, writing that pisses off both older and younger viewers is not the recipe for creating a winning new show. I’d love to point this out to the writing staff, but I dare not; after all, who knows what kind of sick, therapy-coded 30 Rock meme they would slap back with in response?


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Super Bowl LX performers: Who is singing the anthems

The Super Bowl LX halftime show featuring Bad Bunny and the Super Bowl pre-show featuring Green Day may be taking up all the attention when it comes to Super Bowl performances — and rightfully so! Everyone is looking forward to what the internationally known artists will do or say regarding President Trump and ICE.

However, other musical artists are performing at this year’s Super Bowl as well.

Charlie Puth to sing national anthem

Kicking the show off with the U.S. national anthem “The Star-Spangled Banner” is the Grammy-nominated singer Charlie Puth. Puth’s debut single, “Marvin Gaye,” featuring Meghan Trainor, was a Billboard chart hit upon its 2015 release. Puth has since had other hits, including “We Don’t Talk Anymore (feat. Selena Gomez),” “Attention,” and “Nothing But Trouble.”

Brandi Carlile to perform patriotic song

Next up, singing “America the Beautiful” is singer-songwriter Brandi Carlile. Carlile has a whopping 11 Grammys and two Emmy awards. Her biggest hit was 2007’s “The Story,” but she is also known for songs like “Broken Horses” and “The Joke.”

Coco Jones to sing Black national anthem

Grammy Award-winning R&B artist Coco Jones will sing “Lift Every Voice and Sing,” also known as the Black national anthem. “Lift Every Voice and Sing” has become a Super Bowl staple since 2021, when Alicia Keys performed it at the event. Singer and actress Ledisi performed the song at last year’s game.

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How A Star Wars Set Malfunction Caused A Cast Member To Meet Jesus

By Chris Snellgrove
| Updated

Would you believe that arguably the most recognizable figure in the entire Star Wars franchise once ran into Jesus? This was no Jedi, although it’s admittedly fun to imagine what the Son of God might have had to say to someone else who could come back from the dead as a powerful ghost. No, the Star Wars character in question was R2-D2, and he had an accidental meeting with the divine when a remote control malfunction sent him to the set of Franco Zeffirelli’s Jesus of Nazareth tv movie!

A long time ago (1977, to be precise), in a desert far, far away (Tunisia), two very different filmmakers were working on two very different projects. Franco Zeffirelli (best known for his Oscar-nominated Romeo and Juliet) was working on Jesus of Nazareth, which blended the four Gospels of the biblical New Testament into a single TV movie. Meanwhile, fresh off the success of American Graffiti, rebel filmmaker George Lucas was working on Star Wars, a movie that would effectively define his life while reshaping pop culture history as we know it.

Meeting The Maker

Aside from the involvement of James Earl Jones, these projects didn’t have much in common, and Lucas and Zeffirelli generally stayed out of each other’s way despite their sets neighboring one another. That all changed thanks to a scene requiring R2-D2 to be piloted using a remote control. While actor Kenny Baker was often inside the droid for scenes where R2 had to stay relatively still, there were some scenes in which George Lucas simply needed to move the little astromech from Point A to Point B.

In this case, Lucas intended for R2-D2 to exit a scene by rolling out from behind a sand dune. To do this, they intended to use a remote control, but the unit malfunctioned. Therefore, instead of stopping where the filmmakers intended, R2 just kept going until (as if guided by a higher power) he ended up on the set of Zeffirelli’s Jesus of Nazareth

Fortunately, the runaway astromech didn’t cause any damage to the set of the Jesus TV movie, something that we can only assume would be some kind of sin. These days, the whole incident has become a bit of amusing trivia for Star Wars fans to share among themselves. At the time, though, R2 encountering a savior from heaven was just one more reason that filming this sci-fi blockbuster had become a living hell. 

When Droids Move In Mysterious Ways

Reportedly, this is one of many incidents in which the droids weren’t doing exactly what the filmmakers needed them to do. On top of that, the droids were powered by exotic batteries that were hard to replace, and those batteries were soon drained in the hot Tunisian sun. Making matters worse, the truck storing R2-D2 and other droids once caught fire, damaging valuable props and costing George Lucas money he couldn’t really afford to spend.

Fortunately, it all worked out: after all these onset issues, Star Wars became one of the most successful films ever made. There are many reasons for this, including its perfect cast, killer effects, and charming story. However, we can’t discount the possibility that the movie’s success is a product of divine intervention; after all, his excursion to meet Jesus proves R2-D2 is a droid with friends in very high places!


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Who is the Super Bowls Black national anthem singer Coco Jones?

“Lift Every Voice and Sing,” also known as the Black national anthem, has been sung at every Super Bowl since 2021, when Alicia Keys performed the song.

This year, at Super Bowl LX, Coco Jones will perform “Lift Every Voice and Sing.”

So, who is Coco Jones? 

Coco Jones is a Grammy Award-winning R&B artist. In 2024, she was nominated for 5 Grammys and won one award for Best R&B Performance for her platinum-certified song “ICU.” She earned two more Grammy nominations in 2025 and was nominated for Best R&B Album at this year’s award show.

The artist’s father, Mike Jones, is a former pro football player. Jones was an NFL linebacker who played for the New England Patriots, St. Louis Rams, and Tennessee Titans.

If you’re not familiar with Coco Jones as an R&B artist, she might look familiar to you if you watched the Peacock series Bel-Air. Jones is the actor who played Hillary Banks on the drama that reimagined the Will Smith sitcom The Fresh Prince of Bel-Air. As a child actor, she was also a well-known Disney Channel star, appearing in So Random!, Good Luck Charlie, and the Disney Channel Original Movie Let It Shine.

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