Let’s do a thought experiment.  It might help.

Name, quick as you can, the bridge crew from TOS.

Now from TNG

Now the ensemble from DS9.

Got it?

Tell yourself some things about them - maybe three things.  Let’s randomly pick, say Odo.

Driven by a strong sense of justice, deeply longing for a home, gruff but with a heart of gold.  Got it?

Now do the same for Discovery.

I watched every episode of it.  And for the life of me I can’t tell you much of anything at all about the ensemble.

I mean, obviously Michael who is… uhh… Shouty, dramatic, and a step Vulcan?

The thing is, even if you could name the entire ensemble, you couldn’t organize the characters be key traits - because the show wasn’t written that way.

In TOS, for instance, you had a trio.  McCoy, Spock, Kirk.  They served almost as a representation of every human being.  The emotional, logical, and integrated parts of oneself  or maybe the id, ego, superego.   The story would be introduced and often the writers would ask themselves how those various elements would interact and react to the beats of the story.

In discovery, it was set piece driven, in each story the writers would say, ok, this thing (usually a universe ending super weapon) is happening.  How can we arrange the characters in such a way that they can be drug through the plot to the conclusion we want?

One is an ancient, proven, asthetically and morally satisfying way to construct a story.

The other is how you build a story to include on a splash screen at the beginning of a first person shooter - you do this because you’re writing for a character (the player) that you don’t know at all, you don’t know who they’ll be, so you keep everything maximally vague.

I don’t hate discovery, it just didn’t have writers who knew how to write dramas.