As I said in my reviews of Star Trek: Discovery, the context in which the show is created is important. The fact that Discovery's seasons are heavily-serialized, singular stories means that they must be judged on a different basis than the episodic episodes of previous Trek series. Discovery's stories must be held to a higher standard because its structure means that "bad" episodes cannot be dismissed as easily as a bad episode of any other series of Trek.

The difference in context between the animated comedy series Lower Decks and the more serious, live-action, canon series of Discovery and Picard is the one thing that gives me hope regarding Lower Decks. The trailer for the cartoon's first season was released over the weekend, and I'm honestly not upset with it at all.

Because Lower Decks is an animated comedy, I am assuming that CBS is not going to consider it "canon". And if the show isn't being presented as "canon", then I as a viewer don't have to take it as seriously either. I can much more easily forgive divergences in theme, tone, aesthetics, and [especially] lore because inconsistencies from the original source material don't serve to retroactively pollute the original source material in the way that Discovery and Picard have done.

That being said -- and tone and lack of seriousness aside -- Lower Decks has a lot of elements of its design presented in this trailer that takes more cues from golden age Trek than either of the two live-action series that CBS has produced. The design of the ships, the interiors, the holodeck, the uniforms, and so forth all seem to show more respect to the original source material than Discovery or Picard bothered to show. I'm going to hope that is a good sign that the writers are also taking more of the story and character cues from golden age Trek, albeit with the slapstick cartoon tone.

Besides, Star Trek is old enough, and bloated enough, as an intellectual property that it could probably use a good deconstruction or self-satire. I mean, skits on Family Guy, Robot Chicken, Futurama, and so forth have [arguably, and to varying degrees] worked well over the years. The Orville has been generally well-regarded by audiences and eventually shifted towards telling stories that were more in-line with Trek -- far closer than anything in Discovery or Picard.

A couple weeks ago, I heaped praise upon the Spectacular Spider-Man TV show, saying that it "might be the best media adaptation of Spider-Man, period!". I still believe that holds true, but Sony's Into the Spider-Verse definitely gives Spectacular a run for its money.

Spider-Verse isn't really an adaptation of any of the Spider-Man comics. Not the original Amazing comics, or even the more recent Ultimate comics. It's a completely original story featuring the modern Ultimate Spider-Man, Miles Morales, the son of an hispanic nurse and a black cop in New York. So in that sense, Spectacular remains the most faithful adaptation of the original 60's and 70's, Stan Lee and Steve Ditko comics featuring Peter Parker. I was kind of hoping to see a Josh Keaton Spectacular cameo in this film, but no such luck. Damnit, Sony, bring back Spectacular Spider-Man! Make it happen!

I also said in the Spectacular review that Spider-Man (and perhaps all comic adaptations) are best-suited to television shows in which the long-form, character-driven storytelling of comics can be allowed to play out. Into The Spider-Verse, however, proves that Spider-Man (and perhaps all comic adaptations) also work much better in animation! The animation here is fantastic. The images are crisp and vibrant, and they really "pop" to the point that the movie almost looks 3-D without actually watching it in 3-D. The action is fluid and kinetic. The character designs and costumes are all interesting (especially Spider-Gwen, Doctor Octopus, and Prowler). Kingpin's massive, hunchbacked visage kind of stands out as odd, considering that all the other characters have somewhat realistic body proportions. Everything else, however, looks really good!

Seriously, this movie's visuals will blow you away. I'm talking, like, remember how you felt when Beauty and the Beast, The Lion King, and Toy Story came out. That's how good this movie looks.

Animation if crisp, vibrant, fluid, and kinetic.

Not only is it pretty to look at from a technical level, it's also ingeniously-imaginative. There's some reality-warping, dimension-hopping dreamscapes that put Doctor Strange and Inception to shame. Most of the action is semi-realistically drawn and animated, but certain action scenes go extra comic-bookey with brief still-images of comic-like panels, complete with sound effects and speech bubbles drawn on the screen. Peni Parker, Noir, and Spider-Pig all have their own distinct animation styles that blend in flawlessly with the rest. Peni and her robot mech are from a future Japan, and are drawn and animated in a distinctively anime style. Noir is drawn like penciled-in black-and-white. Spider-Pig is full-blown Merry Melodies cartoon.

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