One potential news story that I opted not to cover here on the website was a recent social media post by Worf actor Michael Dorn. In a single Twitter post, Dorn wrote the following: “Just got the news, being summoned back into action. Starfleet calls. #ad”
Well, no sooner had that post hit Twitter than the Star Trek fan community began scrambling to “break” the news of Worf’s return to Star Trek. Websites, blogs, and YouTube shows all jumped on Dorn’s post, using headlines like: “Michael Dorn CONFIRMS Worf’s Return!” As the battle for clicks escalated, Trekkies online began speculating about what form Worf’s return could take, and this too began to grow and spiral out of control.
The Tweet that launched a thousand clickbait articles…
The Captain Worf series that he’s been trying to get off the ground for the better part of a decade seemed to be 100% confirmed, if you believed certain websites and channels. Others were convinced the Twitter post meant Worf would appear in Picard Season 2 or Discovery Season 4. And of course, many outlets reported their wild speculation with minimal caveats as though it were fact.
All of this hype came crashing down within 48 hours, however, when it became clear that Dorn’s Twitter post was nothing more than an advertisement for mobile game Star Trek Legends, an Apple Arcade exclusive title. Legends looks like so many other mobile games released in the last few years, and I have no desire to sign up to Apple Arcade at £5 per month just to play one mediocre-looking title. Even if it does have Worf!
Logo for Star Trek Legends.
Uninspired mobile games aside, I think this whole Michael Dorn saga is yet another example in a very long line of how we have to be incredibly careful how we use social media and how difficult it is to trust even supposedly “reputable” outlets. In this piece I’ll look at the issue as it relates to the Star Trek fan community in particular, but obviously these same broad points can apply to news, politics, and so on.
Michael Dorn’s post was designed to get attention. He may have written it himself, but it’s equally likely – in my opinion as someone who used to work in video games marketing – that it was written by the marketing team behind Star Trek Legends. But whoever wrote the actual words, the post was deliberately ambiguous and designed to get Trekkies talking, playing on fan hopes of the return of a major character who hasn’t been seen on screen since 2002.
Worf made his last canonical appearance in 2002’s Star Trek: Nemesis.
Marketers do this kind of thing all the time; it’s a nostalgia play. It isn’t the first time we’ve seen it in the Star Trek community, either. But because we’re in an age of 24/7 social media use, some of the biggest names in the online Star Trek fandom jumped on Dorn’s comment, seeing an easy way to get clicks – and thus money – for themselves.
Reading the Twitter post, and especially seeing the #ad hashtag, it should’ve been screamingly obvious that this was not connected to a new television show or film. And I have no doubt whatsoever that the social media managers, webmasters, and fan group leaders who began to write clickbaity articles and produce clickbait videos knew that for a fact. But they did so anyway. It was a topic of conversation – and an easy win. Who wouldn’t click on a video or article that screamed “Worf is coming back!” in big bold capital letters? For fans unaware of the original Twitter post, they jumped on such articles and videos hoping to learn that Worf was getting his own show or that he would appear in Picard – the natural implication of such a headline.
Worf having a role in Picard Season 2 was something some fans speculated about at length.
I’m lucky to have my own website, and that means I can cover the topics I want to at my own pace. I did see the Michael Dorn controversy unfold, but two things became apparent very quickly. First was that no one commenting online, no matter how large their website and following, actually knew anything substantial. And second, Dorn’s post had the #ad hashtag, which meant it was clearly connected to a product of some kind. Star Trek Legends turned out to be that product.
As a result, I chose not to cover a “story” that was a bag of nothing. I could easily have penned a short article about the prospects of a Captain Worf series and the potential for Worf to appear in Picard Season 2, Discovery Season 4, or Lower Decks Season 2. Maybe doing so would have driven traffic to the website. But it would’ve felt more than a little dishonest.
Worf in The Next Generation Season 7 episode Lower Decks.
Rumours swirl in the Star Trek fan community all the time – as indeed they do in every online community. But most of these “rumours” are clearly nonsense, based on unverified and often unspecified sources. The truth is that ViacomCBS and the creative team in charge of Star Trek generally do a good job at keeping a lid on leaks. Occasionally a story will leak ahead of an official announcement, but as we’ve seen with some big projects recently, including the new film scheduled for 2023, most of the time that is simply not the case. Yet many social media channels, fan groups, and websites insist on reporting rumour as if it were fact.
When I write speculatively here on the website, you’ll note that I always caveat what I’m saying by explaining that I have no “insider information” nor any “sources.” This is specifically to damp down any theory or speculation that I’m writing about and to clarify that it’s just guesswork on my part. Sometimes it’s educated guesswork, putting together things that seem obvious even if there’s yet to be official confirmation, but even then such a caveat is incredibly important.
Worf is a character in mobile game Star Trek Legends.
It’s easy for a website or social media group to fall into the trap of writing clickbait based on things like Michael Dorn’s Twitter post, but it doesn’t do anything for the Star Trek fan community. In some cases it can be actively harmful – building up hype and expectations that are obviously only going to lead to disappointment. Marketing folks need to be aware of this, as well. As much as Dorn’s post got people talking about Star Trek Legends, they deliberately set up Trekkies for disappointment by allowing Dorn to imply – albeit in a way that should’ve been easy for fans to see through – that Worf was coming back to Star Trek.
But the blame in this case doesn’t lie only with the marketing team at Star Trek Legends, who are, after all, doing their best to market a product. It lies with fan groups, websites, and social media channels who took that obvious piece of marketing and put their own spin on it, building up the hype of Worf’s possible return to Star Trek in order to drive clicks, views, and website traffic.
Worf in a teaser video for Star Trek Legends posted on Twitter.
This is what I mean by the “spiral” of clickbait: a slightly dishonest marketing post on social media appears. Fan websites and social media channels jump on it and take it out of context, in some cases completely disregarding or ignoring the possibility of it being marketing. As the hype bubble starts to build, more outlets and fans jump on the story, talking about it and driving more and more clicks and traffic. What began as a single post advertising a mobile game thus exploded to become a big story online, and it didn’t need to be. From the marketers’ point of view, it’s a rousing success! But for fans, at best it’s a mild disappointment.
It’s becoming increasingly difficult to find reliable, objective sources of information online, and it’s getting to a point where, unless something is confirmed unambiguously by an official outlet, I don’t trust it.
We all need to be careful what we read and watch, and try our best not to give in to clickbait!
Star Trek Legends is out now for iOS devices via Apple Arcade. The Star Trek franchise – including all titles mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
A few days ago I had a lot of fun putting together a short list of (mostly) Nintendo characters who I think should appear in Mario Kart 9 – whenever that game may come! As a follow-up, I thought it could be interesting to consider a few characters from outside of Nintendo’s walled garden who could also join the fun. If you’d like to check out the original list, you can find it by clicking or tapping here.
Mario Kart 8 and later Mario Kart 8 Deluxe pushed the boat out as far as the roster of drivers is concerned, including characters from outside of the Super Mario series for the first time, including Link from The Legend of Zelda series, Isabelle from Animal Crossing, and two characters from the Splatoon games. However, it would be a first for the series to include non-Nintendo characters!
Isabelle, from the Animal Crossing series, is a driver in Mario Kart 8 Deluxe.
Although the Mario Kart games haven’t done so yet, Nintendo has proved itself willing to open up to other companies’ franchises and characters in recent years. We’ve seen Minecraft Steve, for example, as well as characters from the Castlevania, Persona, and Dragon Quest series appear in Super Smash Bros. Ultimate on the Switch, so I think that demonstrates a willingness on Nintendo’s part to think outside the box when it comes to characters in popular titles.
Whether it will happen, though, is completely unknown! And to reiterate what I always say: this is pure guesswork and a wishlist from a fan, nothing more. I’m not claiming to know for a fact that any characters listed below will appear in Mario Kart 9 – or even if such a game is currently in development. With the 30th anniversary of the Mario Kart series coming up in 2022 I think it’s possible that we might see a new game, but even that’s just a guess on my part!
With that out of the way, let’s jump into the list!
Number 1: Sonic the Hedgehog (Sega)
Sonic as he appears in Mario and Sonic at the Olympic Games: Tokyo 2020.
Of all the characters on this list, Sonic is arguably the most likely to crop up in Mario Kart 9. Not only is he a character in Super Smash Bros. Ultimate, but there have been a number of Nintendo games over the last decade or more in which he’s been prominently featured. Mario and Sonic at the Olympic Games in 2007 marked his debut alongside Mario, and since then the duo have appeared together in five more Olympic-themed titles.
It would’ve seemed unthinkable in the ’90s for Mario and Sonic to appear together; they were the mascots of competing companies! It was only when Sega retired from manufacturing their own consoles shortly after the millennium that Sonic appearing on Nintendo hardware was even a possibility, but he’s since become a mainstay. He’d make for a fantastic character, and having already featured in his own kart racer, he definitely knows a thing or two about driving!
Number 2: Pac-Man (Bandai Namco)
A 3D rendering of Pac-Man from 1999’s Pac-Man World.
Another character who appeared in Super Smash Bros. Ultimate, Pac-Man is a gaming icon from the medium’s early days. Originally an arcade game created in 1980, Pac-Man spawned a whole host of titles in a series that continues to this day. Though the games have no real story or plot, Pac-Man was arguably one of the first video game characters, and was, for a time, symbolic of the games industry as a whole. His simple design became iconic, and even today Pac-Man is instantly recognisable.
As with Sonic above, even a few years ago the idea of a collaboration between Nintendo and Pac-Man (short of licensing one of the games to their consoles) wouldn’t have seemed possible. But as companies continue to pool their resources and work together, it could make a lot of sense for both Nintendo and Bandai Namco (or should that be Bando Namcai?) to bring Pac-Man to Mario Kart 9.
Number 3: Fall Guy (Epic Games/Mediatonic)
Three Fall Guys seen in a recent Nintendo Direct.
If I’d been in charge of the development of cute obstacle course/battle royale title Fall Guys, I would have prioritised a Nintendo Switch release. Regardless, the title is finally going to be released on Nintendo’s console, months after it’s PC and PlayStation 4 debut. The Fall Guys themselves are adorable little jelly bean characters with a huge variety of costumes, and their cartoon aesthetic would fit perfectly with Nintendo’s long-running kart racing series.
The recent Epic Games buyout may complicate matters, but with Fall Guys coming to Switch I really feel it has a shot at being successful on that platform – especially if Mediatonic can get cross-platform play up and running. If the game is a hit, bringing a Fall Guy to Mario Kart 9 would be fantastic, and something Nintendo could absolutely consider doing. It would arguably benefit Fall Guys more, with the character’s inclusion serving almost as advertising, but that should just be an incentive for Epic Games to allow this crossover to go ahead!
Number 4: Master Chief (Microsoft)
The Master Chief in Halo: The Master Chief Collection concept art.
The inclusion of Minecraft Steve in Super Smash Bros. Ultimate shows that Microsoft is quite happy to work with Nintendo, and a number of their recent moves – like their partnership with EA – have opened up the possibility of further collaborations and crossovers with big games companies. With that in mind, could the Halo series’ iconic protagonist end up as a racer?
Halo games, as first-person shooters, are quite violent, so perhaps Nintendo would opt not to include such characters for the sake of keeping the game family-friendly. But Master Chief’s design isn’t aggressive or scary, and I think he could be made to fit. It would be a fun collaboration between two of modern gaming’s big powerhouses.
Number 5: Doom Guy (Bethesda/Microsoft)
Doom Eternal promotional artwork featuring the character known as Doom Guy.
Though visually similar in some respects to the Master Chief, Doom Guy has a surprising history with Nintendo. Not only was Doom 64 a Nintendo 64 exclusive in 1997, but last year saw a bizarre yet strangely wholesome internet-inspired team-up with Animal Crossing: New Horizons. In short, Doom Eternal shared a release date with New Horizons, and because of the polar opposite nature of the games, fans began ironically pairing up Doom Guy with Animal Crossing characters – notably Isabelle.
Nintendo could take advantage of the memes and jokes by bringing Doom Guy into Mario Kart 9. On the surface, maybe he isn’t a great fit for the series. But there’s nothing offensive about his character design, and if last year’s fan art showed us one thing, it’s that Doom Guy can be made to look adorable and cartoonified!
Number 6: Two Point Hospital Doctor or Nurse (Sega)
Two doctors and a nurse.
Two Point Hospital is a spiritual successor to 1997’s Theme Hospital, a classic of the “tycoon” genre. It was ported to the Nintendo Switch last year after releasing for PC in 2018, and has gone on to be a surprising success on the platform. As with many tycoon games there isn’t really one principal character to pick out, but a generic doctor and/or nurse could be a fun addition to Mario Kart 9.
One of the great things about Two Point Hospital is its cartoon aesthetic; a deliberate choice that mimics the title’s origins in tycoon games of the 1990s. That look just happens to be perfect for the Mario Kart series, which means a Two Point Hospital character would be a natural fit.
Number 7: A Palico (Capcom)
A Palico as seen in the trailer for Monster Hunter Rise.
I’ll let you in on a secret: the Monster Hunter series has never seemed like my thing. The latest title in the series, Monster Hunter Rise, is available for Nintendo Switch, but despite loving the visual style, the core gameplay of hunting and killing so-called “monsters” – which seem to be docile animals living their own lives not troubling anybody – holds absolutely no appeal to me!
Regardless, the latest title is a big hit on Switch, and Palicoes are cute little felines or cat-like characters that accompany the player character during the game. It seems like this kind of cute critter would be a perfect fit for Mario Kart 9 – even if I don’t personally care for the game they originate from!
Number 8: Zagreus (Supergiant Games)
Promotional art for Hades featuring Zagreus.
Hades has to be one of the best indie games I’ve played in recent years, and was recently featured in a Nintendo Direct presentation as the game is getting a full physical release (i.e. on a game cartridge) for Switch. It’s an absolute blast, and if you haven’t tried it I can’t recommend it enough – if you’re okay with a game in which you die over and over again!
Zagreus, son of Hades, is the game’s protagonist, adapted from the character present in Ancient Greek mythology. His anime-inspired style is… well let’s just say I’m not an anime fan. But as a character he’s interesting and fun to root for in Hades, and with some minor adaptations I’m sure he could fit in with the rest of the racers!
Number 9: Ori and Sein (Microsoft/Moon Studios)
Ori and Sein in Ori and the Blind Forest.
I’d almost forgotten that both Ori and the Blind Forest and Ori and the Will of the Wisps had been ported to the Nintendo Switch, but both games were a good fit for Nintendo’s platform and seem to have sold reasonably well. This entry is technically two characters, but they could be rolled into a single racer as Sein’s design might not lend itself to being an independent driver!
The Ori games are surprisingly sweet but also challenging in places, and Ori would certainly fit right in with the Mario Kart series from an aesthetic point of view. It would be great to see the Ori series, which already has a Switch presence, join up with Nintendo for an additional collaboration!
Number 10: Geralt of Rivia (CD Projekt Red)
Geralt as he appears on the box art of The Witcher 3.
Though I still haven’t played The Witcher 3 – or the prior two entries in the series, come to that – it’s held up as one of the best games of the last ten years, and protagonist Geralt of Rivia has since cropped up in a couple of unexpected places! Perhaps his next adventure could be joining Mario and friends for a go-kart race?
The Witcher 3 was one of the most ambitious titles to bring to the Nintendo Switch, considering the size and complexity of the game, but by all accounts it’s a solid port. A lot of folks have been enjoying taking Geralt with them to play on the go, and his recent appearance in Soul Calibur VI shows that CD Projekt Red are clearly amenable to collaborating with other companies. He would be a strange choice, perhaps, but a lot of fun nevertheless!
Bonus: Battle-Cars (Epic Games)
Promotional art for Rocket League showing two Battle-Cars.
One of the most surprising things in Mario Kart 8 was the inclusion of Mercedes-Benz car parts, as part of a deal Nintendo struck with the famous car manufacturer! We could absolutely consider other manufacturers or vehicles that would be cute to see in the next Mario Kart game, but for now I thought it could be fun if Nintendo could team up with one of the other top car games out there – Rocket League!
I’m atrocious at Rocket League and have been since the first time I played, but the game is a lot of fun. A buyout by Epic Games saw the title move to a free-to-play model, which has been good in some ways. There are a number of different vehicle styles, and any could be adapted to make a fun kart in Mario Kart 9. Perhaps three or four different styles would be enough so as not to overwhelm the title!
So that’s it. Ten characters – and one bonus set of vehicles – that Mario Kart 9 should – but most likely won’t – include!
Is a new Mario Kart title in the works?
If I’m right that Nintendo plans to do something next year to mark the series’ 30th anniversary, a new game would be top of the list. And in the spirit of celebration, bringing a whole roster of characters from across gaming to join one big Mario Kart party would be a great thing for Nintendo to do. Some characters that Nintendo has worked with in the past, like Sonic the Hedgehog, seem far more likely than others, but it would benefit practically every company involved in the games industry to allow Nintendo to license one or two of their characters. After all, it’s a fantastic advertisement for the game they’re originally from!
I’ve been a huge Mario Kart fan since I first sat down to play Super Mario Kart in 1993 or 1994, back when I owned a SNES. That title only had eight racers to choose from, and the series has come a long way since then – while managing to retain the fun. As games got better and I played the likes of Shenmue and Knights of the Old Republic I began to favour titles with a strong focus on story; there are few titles I considered fun for their gameplay alone. The Mario Kart series has always been one of them! Whatever happens next year, and whenever Mario Kart 9 may come, I hope Nintendo try to bring in some new and different faces.
Mario Kart 8 Deluxe is out now for Nintendo Switch, and is the copyright of Nintendo. All characters mentioned above are the copyright of their respective studio, developer, and/or publisher. Some screenshots and promo art courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Star Wars Episode IX: The Rise of Skywalker premiered in December 2019, but it wasn’t until the spring of 2020 that I was able to see it. As I’ve explained on a few occasions, my health now prevents me from taking trips to the cinema, so I had to wait until it was available to watch digitally. It’s now been a year since I published my review (or should that be tear-down?) of the film, so I thought I’d revisit it and see what, if anything, has changed in that time.
Attitudes can soften with the passage of time, and a film or series that was once considered dire can find a new audience later on. The Star Wars franchise itself contains great examples of this: not only can we point to the growing popularity of the prequel trilogy, especially among fans who first saw those films when they were children, but even Return of the Jedi, which was once considered the weak link in the trilogy, is now held up alongside the original film and The Empire Strikes Back, with most fans not differentiating between any parts of the Original Trilogy.
Remember when everyone hated and derided the Ewoks?
Part of this is to do with age and when fans first encountered Star Wars, of course. And one year isn’t a lot of time to allow passions to settle, so perhaps I’m entering this with too high hopes! But despite that, I hadn’t re-watched The Rise of Skywalker since I first reviewed it until a couple of days ago, and if nothing else I was curious to see if I still found the film to be as bad as I did then.
Here’s my basic summary from last time: The Rise of Skywalker has problems with pacing and editing, with the film rushing from story beat to story beat never allowing the audience to catch a breath and process anything that’s happened. That makes it feel like nothing more than a mindless action film on par with the worst parts of series like Transformers or Sharknado. Then the film went out of its way to overwrite basically everything that happened in The Last Jedi.
Promo art for The Rise of Skywalker.
Whether you like The Last Jedi or not – and I do respect that there are strong feelings on this – you have to accept that, in a three-part trilogy, the third film simply cannot waste time doing this. By trying to overwrite The Last Jedi, The Rise of Skywalker ended up having to condense two films’ worth of story into one title – something which goes some way to explaining the awful pacing issue noted above.
Then there were story beats left unexplained or unseen. Palpatine’s message to the galaxy informing them of his (incredibly dumb) plan. Where was it? Surely we needed to see that on screen for ourselves instead of just seeing the reactions of other characters or reading it in the opening crawl. Oh, that’s right: Palpatine’s incredibly important message that set up the entire story of The Rise of Skywalker was only available to players of battle royale video game Fortnite. You read that right – Palpatine’s message was recorded, but thanks to a marketing tie-in with Fortnite it could only be heard in that game.
You could hear Palpatine’s message – the driving force behind the entire plot of the film – but only if you played Fortnite.
How did Lando Calrissian, making his return to the franchise two films too late, manage to recruit literally the entire galaxy for a mission to attack Palpatine? He just turns up at the end with the biggest fleet the film franchise has ever seen at his back, with no explanation given and not even a single frame dedicated to how he managed to convince everyone to join him. That might be a film worth watching.
The decision to get rid of the backstory established for Rey in The Last Jedi was fan-servicey and dumb. It was as if writer/director JJ Abrams spent twenty minutes looking at fan-fiction online and said “that’ll do,” then ham-fistedly inserted it into the script. Palpatine’s plan to launch a huge fleet of starships from his hidden base might make sense… but announcing it to the galaxy before the ships are in position and while they’re still vulnerable to attack doesn’t survive any degree of scrutiny.
Rey’s backstory was overwritten in The Rise of Skywalker.
I could go on, but this summary is already too long. In short, I considered The Rise of Skywalker to be an irredeemably bad film, the worst film I saw in all of 2020. So have I changed my mind now I’ve seen it again? Spoiler alert: no.
I won’t be all cliché and tell you it was worse this time around, but as I re-watched the film that was supposed to conclude the “Skywalker Saga,” the disappointment I felt a year ago is still there. The passage of time has not magically made bad storytelling good.
To provide some context, I also put myself through the torrid chore of re-watching The Phantom Menace, the film I considered Star Wars’ worst prior to The Rise of Skywalker. It’s been a while since I saw The Phantom Menace, and I likewise wondered if my attitude had shifted any. Both films are unenjoyable, but they fail for fundamentally different reasons. The Phantom Menace has a story that was carefully designed from the ground up. The problem was that story was disappointing and unnecessary fluff. The Rise of Skywalker has no real story, with the plot being made up of a cobbled-together mix of side-quests, failed twists, and fan-fiction.
I re-watched The Phantom Menace as well. It’s been a shit few days for films, to be honest.
Having re-watched both films, the one thing I would say has probably changed since last time is this: as much as I don’t enjoy The Phantom Menace, and indeed the prequel trilogy overall, The Rise of Skywalker is probably worse.
One thing I commented on last time that I definitely want to bring up again is the Sith dagger maguffin. This one prop is arguably the most important in the entire film, being the driving force behind a significant portion of what we’ll generously call the “plot.” But it just looks awful. The blade looks nothing like metal at all, not even old rusted metal. It’s made of some kind of plastic or foam rubber, and that’s incredibly obvious every time it’s shown on screen. In a film which otherwise manages to nail the visual effects, this prop should have been done better. And when it became apparent to the producers how bad it looked, some digital effects could have been added in post-production to smarten it up, at least in frames where it’s clearly visible on screen.
I have a second monitor which is a different make to my primary display, and I tried looking at the dagger there to see if it looked any better; perhaps it looked uniquely bad on my screen for some reason. I also tracked down still images and photos of the dagger to see if the Disney+ version of the film had some kind of weird visual quirk. But having investigated as much as I can (or can be bothered for a film this crap) I have to conclude that the Sith dagger, a maguffin integral to the story of the film, for whatever reason looks bad on screen. Other weapons in Star Wars look fine, and even in The Rise of Skywalker practically all of the other props were inoffensive. But this one, the most important one, manages to look like a cheap child’s toy; something you’d pick up in the bargain bin of a discount supermarket to keep a kid entertained for a few minutes.
For such an important prop, the Sith dagger looked awful.
Finn and Rose were both unceremoniously dumped by The Rise of Skywalker as its focus shifted to trying to mimic Luke and Vader using Rey and Kylo Ren. Both characters had potential in their first appearances, yet nothing ever came of that. Rose was the mechanic who lost her sister to the war and wanted nothing more than to do her bit to fight for freedom, yet she was insultingly given a few seconds’ worth of screen time and chose not to accompany Finn and Rey on their series of side-quests.
Finn was the first Stormtrooper we’ve spent much time with in Star Wars’ main canon. There was scope for his story of overcoming indoctrination and fighting back to turn into something genuinely inspirational, but he was relegated to a minor role that seemed to mostly consist of shouting at Rey – so much so that it became a meme. Finn was one of the “big three” – the three main characters of the trilogy, or so we were told. Yet while Poe and Rey got some attention in The Rise of Skywalker, Finn was essentially sidelined for the entire film. He played third fiddle to Rey and Poe, never really able to come into his own. It was a waste of a character – but that could be said of many characters across the sequel trilogy, really.
“Rey!” shouted Finn, repeatedly. For two-and-a-half hours.
John Boyega, who plays Finn, has been vocal about this, suggesting that Star Wars wasn’t sure what to do with his character. And I sympathise with that, because while Finn had some degree of character development, it all happened in the first few minutes of The Force Awakens, much of it wordlessly, and after that he just felt like a spare part.
The treatment of Rose was frankly just offensive, though, and it’s this decision that deserves the most criticism. Kelly Marie Tran, who plays the character, had been subjected to an absolutely vile torrent of abuse online in the weeks after The Last Jedi premiered, all of which came from complete morons who are incapable of separating their feelings about a fictional character from the actress who plays her. Though director Rian Johnson stuck up for Tran, as did some of her co-stars, Star Wars as a whole was largely silent. The decision to give Rose such a minor role was clearly the franchise pandering to those sexists and racists who went after the actress, and honestly that’s just appalling. Almost everything else wrong with The Rise of Skywalker concerns plot, characterisation, and so on. But this is something that actually affected a real person, and whatever you may think of Rose’s character in The Last Jedi, the decent thing for Star Wars and its producers to do would have been to take a stand in support of their actress. Cutting her from The Rise of Skywalker is nothing more than pandering.
Rose was entirely sidelined.
For some reason, The Rise of Skywalker needed to have a “shocking twist.” And this played out in perhaps the dumbest, most obvious way possible. General Hux was the First Order zealot we met in The Force Awakens. He works alongside new character General Pryde, and the film clumsily sets up that there’s a spy in the First Order. Naturally, the audience are supposed to think it’s Pryde. But no! In a truly stunning turn of events, Hux is the mole, feeding information to the Resistance because of his hatred of Kylo Ren.
Not only was the setup for this poorly handled in a jam-packed film that simply didn’t have enough time to set up a “mystery” of this nature, but the absolute stupidity of Hux being the traitor leaves me at a genuine loss for words. Seriously – ever since I first saw the film I’ve had a piece in my writing pile tentatively titled “General Hux,” with a vague plan to talk about how truly bizarre and stupid this character betrayal was. But every time I start it I genuinely cannot get more than a few lines in. The decision to go down this route is staggeringly dumb in a film that’s already overflowing with ridiculous character and storytelling decisions. I don’t even know where to start or how to unpack this utter nonsense.
Hux’s character betrayal was awful and didn’t even achieve its purpose as a “shocking twist.”
Hux, more than any other character in the Star Wars sequel trilogy, was steadfastly loyal to his cause. Even if we can accept the premise that his personal dispute with Kylo Ren had soured him, surely the arrival on the scene of Palpatine offered a better way out for Hux than betraying the entire First Order. And betraying the organisation to which he had dedicated his life when it was on the brink of victory makes no sense. It’s a “lesser of two evils” situation, from his perspective. Kylo might be someone he viscerally hates, but the First Order is more than just one man, and Hux’s desire to impose “order” on a chaotic galaxy is his driving force.
And so we come, inevitably, to Palpatine.
Even if everything else that was wrong with The Rise of Skywalker went away – and that would be no mean feat considering how much of an abject failure practically every aspect of the story was – Palpatine’s insertion into a story that was clearly never meant to have anything to do with him would ruin whatever remained. There’s no getting away from that.
Palpatine ruined the film.
Palpatine was not part of The Force Awakens or The Last Jedi, and the sole reference to him in the latter film was a throwaway line. JJ Abrams and others involved with the production of The Rise of Skywalker absurdly tried to claim that Palpatine’s return was “always the plan,” but that simply is not true. If it was the case, it was set up so badly across the previous two titles that everyone involved with writing, directing, and managing Star Wars should resign in shame and never try to tell another story again. But it wasn’t true. JJ Abrams arrived on the scene after The Last Jedi, and with Snoke dead and Kylo at the head of the First Order he clearly had no idea what to do or where to take the narrative.
Abrams was obviously in love with the idea of re-telling the basic story of Return of the Jedi, just as he’d re-told A New Hope four years previously. Rey was substituted in for Luke, Kylo Ren for Vader, but there needed to be a “big bad,” another villain at the top to make Kylo’s redemption and return to the light possible. In Abrams’ original vision for the trilogy – if such a vision existed, which is debatable – that villain was Snoke. But with Snoke dead and Kylo having assumed the mantle of Supreme Leader, the sequel trilogy’s story had already gone in a radically different direction. This was not something that could be halted or renegotiated; it had already happened.
Snoke’s death and Kylo’s elevation to the role of Supreme Leader could’ve led to The Rise of Skywalker going in a very different direction.
Instead of trying to tell a new story, or adapting the existing one to make it work with new or existing characters, the disastrous decision was made to bring back Palpatine. I can’t emphasise enough how utterly stupid this is. The one thing any fictional universe needs to have is internal consistency. It’s fine to have the Force, a magical power to move objects, perform mind tricks, etc., but when it’s been established roughly what’s possible, internal consistency kicks in and future stories have to be constrained by what’s already been established. This is a basic tenet of storytelling and of fiction in general.
Palpatine died. At the end of Return of the Jedi he was absolutely 100% dead. Not only that, but his absence in The Force Awakens and The Last Jedi, coupled with the rise of Snoke and the First Order instead of some continuation of the Empire, emphatically and solidly confirmed that Palpatine was dead. Say it with me folks: “Palpatine was dead.”
This moment in Return of the Jedi clearly and unambiguously showed Palpatine’s death.
Not only does The Rise of Skywalker bring him back, his return is not explained. Did he survive the Death Star’s explosion? Was he reborn? Is he a clone? All we got is an ambiguous line that isn’t even new for The Rise of Skywalker – it’s a word-for-word copy of a line spoken by Palpatine in Revenge of the Sith: “the dark side of the Force is a pathway to many abilities some consider to be unnatural.” The Rise of Skywalker can’t even be original with its shitty dialogue.
The worst line in relation to the Palpatine clusterfuck was spoken by Poe: “Somehow, Palpatine returned.” That line encapsulates how The Rise of Skywalker doesn’t care one bit about the detail of its story, and how the film is content to treat its audience like idiots. Rather than lingering over this point, the film skips ahead and then races through the rest of the plot. Perhaps the writers and producers knew that no explanation for Palpatine’s return could ever make even the tiniest modicum of sense, so they just opted not to add one. I would say that’s bold, but actually it just compounds how dumb the original decision was. If even the writers can’t find a way to explain or defend this awful story point, then it’s an awful story point.
“Somehow, Palpatine returned.” A contender for the title of worst-written line of dialogue in the franchise.
As I mentioned earlier, Rey’s backstory had been established in The Last Jedi. It wasn’t to everyone’s liking, perhaps, but considering the other sources of controversy that film generated, I think most fans were at least tolerant of it as the first stage of explaining her power and origin. The idea of the Force trying to balance itself by elevating Rey to match the growing power of Kylo was a theme present in both prior parts of the trilogy, and when Kylo explained Rey’s parents were “nobody” in The Last Jedi, that settled things.
That explanation worked very well, and it meant that Rey was in a unique position in Star Wars. Though we’ve known many Jedi characters, the main ones we met were Anakin and Luke, and the familial relationship between them demonstrated that the Force can be passed down from parent to child. But not every Jedi has to be the offspring of another Jedi, and there was something powerful in “Rey the nobody” that The Rise of Skywalker trampled in its mad rush to fetishise and copy the Original Trilogy.
Kylo Ren delivered the shocking(ly awful) news to Rey – and to us as the audience.
Rey’s background as the daughter of nobody special meant her rise and her skills were her own. She achieved the position she was in – and her status as a Jedi – on merit. By removing this key part of her character, The Rise of Skywalker throws away something incredibly valuable: the message that anyone can be a hero. For young people – and especially young girls – sitting down to watch the film, the idea of Rey as a heroine to aspire to, someone who came from nowhere and saved the galaxy, was stripped away, replaced with the laziest and most clichéd of all fantasy tropes: destiny.
Rey’s inheritance as a descendant of Palpatine explained her power. That was it. The Force in Star Wars’ cinematic canon functions like an aristocracy, with power passed from Anakin to Luke and Leia, then from Leia to Ben Solo, and from Palpatine to Rey. Gone is the concept, embodied in the “broom boy” scene at the end of The Last Jedi, that the Force can be present in even the most lowly individuals. What replaced it was fate, destiny, and the power of bloodlines – an amazing and powerful message cast aside for a cheap fan-fiction theory.
Rey learns her true origin… for the second time.
The climactic battle involving Palpatine’s fleet and Finn and Poe’s Resistance forces is incredibly dumb and makes no sense. Not only was the idea of fighting on the exterior hull of a starship so phenomenally stupid, but the very concept of a fleet that doesn’t “know which way is up” and has such a patently obvious weakness was ridiculously poorly handled.
Star Wars has previously introduced us to forces and machines that seem overwhelming, only to offer a “million-to-one shot” way to destroy them; at this point it’s almost a trope of the franchise, being present in two of the three original films and The Force Awakens. But in all prior cases – even with The Force Awakens’ Starkiller Base, which was a patent rip-off of the Death Star – it was handled so much better and made more sense in-universe.
A moment of brainless action designed for the trailer and pre-release marketing material.
Palpatine’s fleet is the only fleet ever seen in Star Wars to require some kind of external navigation aid; this concept is just plain dumb for a technological civilisation. Not only that, but the idea that without this maguffin the ships will be trapped and unable to move is awful. Really, irredeemably awful.
What this all means is that Palpatine’s fleet looked superficially large and intimidating, especially in the film’s trailer and other marketing material, but was ultimately incredibly easy to defeat; cardboard cut-out opposition for our heroes. What could have been a satisfying victory over seemingly overwhelming odds felt incredibly cheap and hollow as a result.
The Sith fleet was clearly designed to be easily defeated.
As mentioned above, Lando’s last-second arrival with half the ships in the galaxy at his back was designed to be a feel-good moment; “we the people” rising up against tyranny. But because we didn’t get to see any of Lando’s recruitment efforts, nor understand why the galaxy would turn out to help him when they ignored Leia at the end of The Last Jedi, it was nothing but an incredibly hollow moment that felt more like a deus ex machina than a rousing victory.
Given the lukewarm reaction to the sequel trilogy, Disney’s roadmap for upcoming Star Wars projects seems to be putting this era on hold. But if they ever do choose to revisit the sequel era in future, one story I think would be absolutely worth exploring is Lando’s mad rush to bring the galaxy together and lead them to Exegol – of all the things in The Rise of Skywalker, that might be the one story worth digging into.
How did Lando manage to get so many people to back him? Might’ve been worth showing a bit of that on screen, no?
I’ve already written far more than I intended to for what was supposed to be a short revisit to a crap film, so I think we’ll wrap things up. I didn’t even touch on the ridiculous Force healing power that Rey developed, nor how the plot seemed to take our heroes precisely where they needed to go by completely random chance. We also could talk about the dumb limitation imposed on C3PO and how he couldn’t translate the dagger, Palpatine growing Snoke-clones in a tank, and the fake-outs of Chewbacca’s death and C3PO’s memory wipe. There are so many ridiculously poor elements of The Rise of Skywalker that they don’t all fit in a single essay.
In summary, then, the film is still just as bad as it was first time around. Though visually impressive most of the time, especially when compared to the shoddy CGI of the prequel trilogy, and with a couple of successful moments of comedy, the film is a complete and total narrative failure. It was an appalling and disappointing end to the so-called “Skywalker Saga” – which should really be called the “Palpatine Saga,” apparently, since he’s been manipulating everything from behind the scenes and is thus the only character who has been able to act of his own volition.
Despite some adequate performances from its lead actors, The Rise of Skywalker remains a truly dire film and an unenjoyable watch from beginning to end.
In 2017-18, when some Star Wars fans were vocal about their hatred of The Last Jedi, I was pleased that I was still enjoying Star Wars. But The Rise of Skywalker threw a wrench into the whole sequel trilogy, and was so bad in the way some of its storylines unfolded and concluded that it makes both of its predecessors – and to an extent the Original Trilogy as well – significantly worse and less enjoyable to go back and watch.
Even though I’m not a big fan of The Mandalorian, there are some Star Wars projects on the horizon that seem to have potential, despite the fact that the franchise is still very much living in the shadow of its Original Trilogy. I’ve expressed on a number of occasions my wish to see Star Wars break away from that and try something new, and I remain hopeful that it will happen one day. Even though The Rise of Skywalker was a disappointment and a complete narrative failure, there’s still life in Star Wars as a franchise. I recently enjoyed Jedi: Fallen Order, for example, and I’m very much looking forward to its sequel. And at Christmas last year, The Lego Star Wars Holiday Special was good fun on Disney+.
Despite the failure of The Rise of Skywalker and my disappointment in the film, I remain a Star Wars fan. Having returned to the film to give it a second look, I’m now content to put it back on the shelf and concentrate on what comes next for the franchise. There’s no need to revisit this film again, and this will probably be the last time I ever watch it.
Star Wars Episode IX: The Rise of Skywalker is available to stream now on Disney+. The film is also available on Blu-ray and DVD. The Star Wars franchise – including The Rise of Skywalker and all other titles listed above – is the copyright of LucasFilm and The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
It’s been just over a year since the launch of Animal Crossing: New Horizons for Nintendo Switch, the latest entry in a series that has been running since the GameCube era. And New Horizons has been incredibly popular, rising rapidly to become the Switch’s second best-selling game, behind only Mario Kart 8 Deluxe. Considering Mario Kart 8 Deluxe is a glorified Wii U port (as are many Switch games, but that’s a battle for another day), I’d say that makes New Horizons the best-selling game that was made from the ground up for the new console! Am I splitting hairs? Well, maybe.
I spent a lot of time with New Horizons in the weeks after its launch. With over 120 hours played it became one of my most-played games of 2020, and I gave it the “best casual game” award as the year drew to a close. But shortly after publishing my review of the game – which you can find by clicking or tapping here, by the way – I put it down for almost six months. When I picked it up again, although there were a handful of updates which added different features, I was surprised to see that New Horizons is still missing something incredibly basic, a feature that would make the game infinitely more fun and increase its longevity substantially. I’m talking about mini-games.
New Horizons is missing something important.
New Horizons has a shit multiplayer mode. In fact, its multiplayer mode is so utterly threadbare that it isn’t a stretch to say that there’s literally nothing to do when playing with friends. You can exchange gifts if you have an in-game item your friend desperately wants, and you can check out the designs and scenery on their island, but that’s it. There isn’t anything to do together at all – and especially for players who paid extra for Nintendo’s Switch Online service only to be able to play New Horizons, that’s incredibly disappointing.
I wouldn’t have picked up Switch Online but for New Horizons. I certainly wasn’t going to pay to play Mario Kart 8 Deluxe online after Nintendo gated off what had previously been a free online mode behind their new paywall, and I was content to skip Switch Online altogether. But New Horizons – and a couple of friends of mine who play – convinced me to sign up, and were it not for the fact that I’ve played a couple of other titles online (and will hopefully pick up Fall Guys when it arrives later in the year) I’d feel I 100% wasted my money.
Do not buy a Switch Online subscription just to play New Horizons… it isn’t worth it.
To understand why, and why I’m so sour about this, we need to step back one iteration in the Animal Crossing series, back to 2013’s Animal Crossing: New Leaf. New Leaf introduced a number of new features when it debuted on the Nintendo 3DS, and unlike New Horizons, felt like a game that was actually complete when it launched. One of the most fun features, and the main reason I was still playing New Leaf seven years after its release, was an area outside of the main map called the “tropical island.” This area is absent from New Horizons – as are a number of other Animal Crossing staples, despite the game having a full year’s worth of updates under its belt.
The tropical island in New Leaf was more than just a different area to visit with different fruit trees and bugs to catch. It offered mini-games to play, and these could be played with friends – for free, by the way – via either of the Nintendo 3DS’ two multiplayer options (local or online). These mini-games were so much fun, especially when playing with a friend, and gave New Leaf a whole extra lease of life that, frankly, the main game did not have. New Horizons does not have this, and thus a key component of the Animal Crossing experience is lacking.
An example of a tropical island mini-game.
The mini-games New Leaf offered were incredibly varied. Some would put a timer on everyday Animal Crossing activities – like fishing or popping balloons. Others were entirely new for the tropical island, such as using a soft mallet to hit an out-of-control robot. For me – and practically everyone else I knew who played New Leaf – these mini-games were an incredibly important part of the fun, and a mainstay of multiplayer sessions.
The mini-games aren’t the only feature New Horizons is missing. There are many others we could point to, like the coffee shop, the ability to set town ordinances, additional expansions of the shop, the fortune-tellers, the shoe-shop, the gardening shop, and so on. Holidays were also missing at launch, including Halloween, Thanksgiving, and Christmas. These were patched in later… but that’s no good for players who don’t have their Switch connected to the internet, or for whom data caps apply. Many kids play New Horizons, and I’m sure not all of them are allowed to connect their consoles to the internet.
“Toy Day” – a.k.a. Christmas – should not have been an update, it should’ve been part of the game at launch.
As I said once before, it’s hard to escape the feeling that New Horizons was released in an incomplete state. Although no major bugs or glitches are present, the game itself is missing key features, and can feel rather threadbare. New features, like terraforming, don’t make up for the lack of things like mini-games, not least because terraforming is a single-player-only activity!
I plan to do a full update of my review at some point soon, so I won’t dive too deeply into all of the missing or removed features here. But I would certainly make the case that these “free updates” are a lot less generous than they appear to be on the surface. All Nintendo is really doing is adding into the game features that should have already been present – features that were part of previous Animal Crossing titles that were removed, or not ready, when New Horizons launched.
At least we can still listen to K.K. Slider’s songs…
If I were in charge of the project, getting mini-games back into New Horizons in some form would be a priority. Nintendo spent much of 2020 adding holiday-themed events, including the aforementioned Halloween and Christmas, so perhaps now is the time to switch focus and make a big push to get mini-games back. Even if the tropical island itself doesn’t return as its own entire area of the map, the ability to play mini-games with villagers in single-player and with friends in multiplayer would quite literally transform the game and make it so much more enjoyable.
Right now, New Horizons doesn’t feel worthwhile to play with friends. After collecting all of the five different fruits (previous games even had more types of fruit!) and seeing their island, there’s really nothing to do. You can “make your own fun,” is what some super-fans and defenders of the game will say. But what fun can you make, exactly? Hide-and-seek works fine, I guess, with other players. But there’s no timed events, no special events like popping the most balloons or matching the right fossils; these things used to be part of Animal Crossing, and Nintendo opted to remove them. By doing so, New Horizons’ multiplayer is incredibly weak, and far, far worse than New Leaf offered eight years ago on much less impressive hardware. That shouldn’t have happened, and we shouldn’t let Nintendo get away with it.
2013’s Animal Crossing: New Leaf had a superior multiplayer experience.
I’ve already called out New Horizons for the incredibly poor way it handles save files; only allowing one island per console is a cheap trick to force players – and especially parents – to buy more Switch consoles. But the lack of in-game content, especially for multiplayer, deserves criticism too. Considering the game invites players to pay extra for Switch Online, the very least Nintendo could do is ensure that there was something for us to do.
I held off writing this piece for a long time, hoping that the next update or the next one after that would add in mini-games, the tropical island, or both. But after more than a year, New Horizons’ multiplayer remains in a useless state. There’s very little fun to be had playing with friends, and that situation shouldn’t go unnoticed. I’ll happily recommend New Horizons to players looking for a fun single-player experience – albeit with the caveat that it will probably be better and have more to offer in another year or two’s time. But as a multiplayer game, and especially as a reason to buy a Switch Online subscription? 0/10. Impossible to recommend New Horizons in its current state.
Animal Crossing: New Horizons is out now for Nintendo Switch, and is the copyright of Nintendo. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are minor spoilers ahead for the titles on this list.
When writers and producers sit down to craft a new television series, usually they can’t plan for anything beyond a single season. Most television shows are greenlit for one season at a time, and renewed for one additional season at a time. Forward planning for events that may take place in Season 6 of a show are usually not at the forefront of creators’ minds when sketching out the storyline of Season 1.
And this approach makes a lot of sense. A series like Terra Nova clearly had a multi-season story planned, as Season 1 ended on a cliffhanger, but cancellation meant that the remaining story was never put to screen. That’s frustrating as a viewer – and yes, even though it’s been ten years I’m still sore about Terra Nova!
Terra Nova had the opposite problem to the titles on this list!
But one drawback to this season-by-season approach to writing and storytelling comes when a show is renewed. If writers have managed to successfully wrap up a season-long storyline and character arcs, what comes next? This is something I’ve termed “the Disney sequel problem,” because it’s comparable to a situation many sequels to successful Disney films find themselves in. What comes next after “happily ever after?” Or in this case, what comes next after a finished story?
Some shows just run and run and run, continuing long after they’ve completely exhausted their potential stories and original purpose. These shows tend to morph into something different – even unrecognisable – from their original incarnation. Even though the characters may remain the same, storylines change and often get wilder and more bizarre. Though some shows retain a large following even as they change, in many cases fans of the first couple of seasons realise that the changes have been for the worse.
The Simpsons is now approaching its 33rd Season…
Television, like any entertainment or artistic medium, has its limits. No single story can run and run forever, and no set of characters can endure season upon season of increasingly outlandish storylines. Most television shows, like most stories across other forms of media, have natural lifespans. In some cases that could be a single season, in others it could be ten seasons. It varies a lot and depends on the show. But practically every show eventually hits that wall – and some try to sidestep it and keep going.
Today we’re going to look at five examples of television shows that should’ve ended far sooner than they did. As I always say, this is just the opinion of one person. If you like a show on this list and enjoyed its later seasons, that’s okay. I’m not trying to claim these shows or their latter episodes are somehow objectively bad. Simply put, I feel they outstayed their welcome.
Number 1: The Simpsons (1989-present)
The Simpson family.
Given The Simpsons’ place in popular culture and the show’s enormous influence over satire and comedy, this one is painful to admit. But The Simpsons, which will begin broadcasting its 33rd season later this year, has clearly and demonstrably gone on too long. Its original premise – satirising family-oriented 1980s sitcoms and taking a comedic yet biting look at America as the 1990s dawned – has entirely evaporated, and while there have been creditable attempts in recent seasons to recapture parts of that, the show has largely forgotten its roots.
A few weeks ago I picked out twelve of my favourite episodes – and as I was composing that article I came to realise pretty quickly that all of my favourites were within the first eight or nine seasons. That was when The Simpsons was at its peak, and while the show is still running and clearly has an audience, even Simpsons fans admit that it’s gone downhill.
The Simpsons’ decline set in sometime around the year 2000.
One of the most-cited differences between The Simpsons in its ’90s heyday and the series today is the characterisation of Homer. Originally he was presented as a hard-working everyman, down on his luck and with undeniable flaws, but nevertheless someone viewers could root for. In his first standalone appearance in the Season 1 premiere Simpsons Roasting on an Open Fire, Homer’s financial problem and desire to do right by his family as Christmas approaches elicits genuine sympathy; an oddly timeless story. But by later seasons, spurred on by a desire or need to continue a trend of increasingly outrageous storylines, Homer has been turned into a character that’s half-clown, half-jerk, exaggerating his worst traits and becoming a parody of himself.
Unlike some other entries on this list, The Simpsons is episodic in nature. It didn’t have a single overarching story to tell that was exhausted at some point in its run. Instead it had an underlying premise, and a desire to show Americans a satirical mirror of their society. But since the show itself became part of American popular culture, and inspired not only a whole genre of adult-oriented animation but also a whole style of comedy, its ability to effectively do that waned. And as writers exhausted plausible storylines to put a comedic spin on, all that remained was to take the show to extremes – pushing the boat out ever further to try to keep it funny.
Number 2: Supernatural (2005-2020)
Brothers Sam and Dean Winchester in Season 15 of Supernatural.
Supernatural is the show that originally inspired this article! If you’re a regular around here you might remember it from last year’s awards – where it “won” the award for worst television series of the year. I stand by what I said then: Supernatural had become the king of running too long.
When Supernatural premiered in 2005 it had a wonderfully innovative premise. It was a great blend of episodic, monster-of-the-week television with season-long character arcs and stories that rumbled away in the background, particularly the disappearance of the boys’ father and their quest to hunt the Yellow-Eyed Demon. As Sam and Dean travelled the United States hunting an array of new and old monsters and horror movie villains, there was a lot to love.
Sam and Dean Winchester in the pilot episode.
But Supernatural exhausted its original storylines sometime before 2010, certainly by the fifth season or so. Not only that, but having faced down examples of most horror staples – ghosts, demons, werewolves, and the like – the writers and producers were running out of material. The show moved away from its original semi-episodic format toward a more serialised approach, and while there’s nothing wrong with serialised storytelling, combined with the satisfying conclusion of Supernatural’s original storylines and the exhausting of most monster-of-the-week stereotypes, there was nothing left for the show to explore.
For me, one episode more than any other cements Supernatural’s decline: Season 6’s The French Mistake. It was at this moment that the show lost all semblance of seriousness and descended into the fan-servicey mess that became the hallmark of its latter seasons. The transformation of main characters Sam and Dean from two relatively ordinary guys thrust into a world of demon-hunting into invincible Biblical warriors anointed by God and the angels was catastrophic, but that episode was the icing on the cake.
Number 3: Lost (2004-2010)
Title card for Lost.
Lost is absolutely one of the best shows of the 2000s, and unlike other entries on this list which ran for a decade or longer, its six seasons actually seem rather modest in comparison. But Lost nevertheless exhibits many of the same issues, including exhausting its original premise and storylines, and putting its characters in increasingly weird and wacky situations to try to keep the magic going.
I mentioned at the beginning that many television shows are written season by season, without much thought for how or when they will end. Lost is a case in point. JJ Abrams, who created the show, has become notorious for writing half a story – a beginning without any idea of how it will end. In fact, the so-called “mystery box” has become a hallmark of the way Abrams creates his stories. In the case of Lost – as with the Star Wars sequel trilogy that Abrams also helmed parts of – the weaknesses of this approach become apparent.
Lost started strongly and encouraged fans to theorise and speculate – but the writers and producers hadn’t planned any answers to the questions they set up.
There were mysteries in Season 1 of Lost. What caused the plane to crash? How were they so far off-course? What’s with the weird smoke monster? What’s inside the hatch? Who is Kate, and what did she do? But fundamentally it was a character-driven story with a strong focus on the need for survival. The characters found themselves in a hostile environment with no immediate hope of escape, and much of the drama came from that premise.
Lost had become unrecognisable by Season 6, with a narrative that involved worldwide conspiracies, time travel, an island that could literally move, and so on. For fans who had become engrossed in its world, perhaps some of these answers were satisfying. For many, though, they were not, and what started as a fun and mysterious show lost its way when the creative team found themselves boxed in narratively, unable to find a satisfying way to conclude various story elements.
Number 4: 12 Monkeys (2015-2018)
12 Monkeys protagonist James Cole in Season 1.
As with Lost above, 12 Monkeys doesn’t seem to have enough seasons to fit the bill as a show that outstayed its welcome. But it absolutely did! The series began with a similar premise to the 1995 film of the same name – a man from the future must travel back in time to the modern day in order to prevent the release of a biological weapon that would decimate humankind.
That premise sounds amazing, and more than a little timely given the year we’ve just had! Though time travel stories are seldom my favourite for a number of reasons, 12 Monkeys Season 1 absolutely nailed it. But then they ran out of story, and what was chosen to replace it simply did not work. Things went downhill fast.
12 Monkeys did time travel very well… in its first season.
The plot became overly complicated when the original premise – stopping the release of the virus – was played out. What replaced it was a convoluted and frankly just plain dumb story about an international conspiracy to “stop time itself.” Yeah. I know.
Though the characters remained the same, the lines they were spewing now made no sense, and the show had to create increasingly stupid reasons for both using the time machine – its central piece of tech – and for including characters from the modern day. With the focus having switched to battling this weird army of time-hating people, the entire concept of the series was lost.
Number 5: The Walking Dead (2010-present)
An iconic image from Season 1 of The Walking Dead.
The Walking Dead’s main problem is that the entire show is built around a very simple premise: zombies. When the zombies stop being frightening, and when the show’s original cast has been decimated by season after season of “shocking” deaths, there’s nothing left to do. That should be game over – and The Walking Dead managed about three seasons before that feeling set in.
Unfortunately, despite hitting the wall, The Walking Dead kept going. The zombies stopped being the show’s focus and were relegated to a background role, with the impetus switching to new groups of characters who, for no other reason than “because plot,” would turn out to have a burning hatred of protagonist Rick Grimes and his group.
Sonequa Martin-Green (Star Trek: Discovery’s Michael Burnham) appeared in The Walking Dead.
After the show found success with the Governor as its main human antagonist in Season 3, the writers evidently became desperate to recapture that feeling, throwing villain after villain at Rick. That’s all the Terminus cannibals were, that’s all Negan was, and now this new villain Alpha is in the same mould.
The Walking Dead, along with Game of Thrones which was around at the same time in the early 2010s, helped to pioneer the idea of a “disposable” main cast – where viewers were kept on the edge of their seats not sure if all of their favourites would survive to the end. The problem is that the end should’ve come far sooner. Spin-offs like Fear the Walking Dead and World Beyond can pick up the baton for the franchise, telling new stories with new characters. But the main series should’ve ended a long time ago.
So that’s it. Five shows that ran too long – or are still running too long!
Usually this happens for “business reasons” – namely money. Investing in the creation of a new television series is expensive, and when a show is a hit, executives and producers naturally want to keep going, bringing in more money and making use of existing sets, props, and characters. However, this can come at the expense of artistic integrity and good storytelling, with shows forced to make major changes to compensate for either concluding their original story or simply running out of ideas.
We didn’t even mention The Big Bang Theory…
None of the shows on the list above were bad. I actively enjoyed all five in their early days. But somewhere along the way their original intentions got lost, and the transformed series that resulted became less enjoyable. In some cases this can happen within a season or two, especially if the original creative team tell what is essentially a one-and-done story across one season of television. But other shows have a slower, more gradual decline over the course of several years, with concepts that were interesting and exciting in Season 1 decaying and becoming clichéd tropes by Season 5. There are different ways this decline can manifest, just as there are different lifespans for different shows.
As a fan, in every single case I’d rather be writing an article saying “this show was cancelled too soon!” instead of “this show should’ve been cancelled already.” I’d rather lament what we could’ve seen had a show ran for just one more season than feel it declined because it went on too long. Perhaps that seems paradoxical, but sometimes, as the saying goes, “less is more.”
Regardless of what I may think, this phenomenon isn’t going away any time soon. Television producers will always look to continue successful projects where they can and cancel those that don’t bring in enough viewers and enough money. That’s just the way the industry works!
All titles listed above are the copyright of their respective network, broadcaster, studio, and/or distributor. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I don’t talk about football very often here on the website. In fact, I daresay I’ve discussed the FIFA football video games on more occasions than the sport itself! But with all of the discussion flying around online since last night’s bolt from the blue announcement of a possible European Super League, I felt compelled to comment.
The twelve clubs – six of which, I’m sad to see, are from my native England – have drawn a lot of criticism for this plan, and we’ll discuss in a moment the potential ramifications for them. But with so many people piling on with criticism mixed with ideas for “punishments” it feels like a really basic message is in danger of getting lost in the confusion. What it all boils down to is simple: fairness. That one word encapsulates everything wrong with a European Super League.
It’s deeply disappointing to see these six clubs – plus six of their European allies – planning to grab more money and power for themselves at the expense of basic fairness and sportsmanship.
Every sport, whether it’s curling, showjumping, ice hockey, or football, has to be fair and has to be seen to be fair. There will always be bad individual decisions; referees who make a bad call, a goal disallowed or allowed to stand incorrectly, and so on. Those idiosyncrasies will always be part of football, and indeed of any team sport. But the rules underpinning competition have to be seen to be fair – they can’t disproportionately favour one team, country, or club over everyone else. Yet that’s exactly what the European Super League would do. It would play favourites.
A closed league in which most clubs can never be relegated no matter how poorly they perform, and in which those clubs are given vast sums of money from the league’s sponsors is simply not fair. If those clubs are then allowed to participate in other competitions, such as their domestic leagues or cups, they have an additional unfair advantage in those as well. So the European Super League is not just unfair in that it would keep its fifteen “members” there in perpetuity no matter what else was happening in the wider game, it would give each of those clubs a massive boost in whatever other competitions they participated in.
Manchester United are one of the clubs involved in this scheme.
Money has already made the upper echelons of football incredibly difficult to break into. The fairytale of Leicester City winning the Premier League a couple of years ago came after decades of dominance by a handful of very wealthy clubs backed by even wealthier investors and owners. The reason why Leicester’s win was so truly unexpected is because pundits and commentators had felt that it would be impossible for any club without significant financial resources to be able to compete against the so-called “big six.” The European Super League would cement the “big six” at the top of the English game, doling out huge sums of money to them to keep them at the top of the league in perpetuity. There would never be another Leicester or Bolton Wanderers winning the Premier League – and that’s exactly the scenario that the European Super League is designed to create.
That’s bad sportsmanship. It’s antithetical to the nature of free and fair sporting competition. By further eroding a sport already awash with near-incomprehensible amounts of money, the European Super League would effectively kill any real competition at the top. The other 14 clubs of the Premier League will be locked in a perpetual battle for seventh place – and whoever finishes seventh might as well be crowned champions, because the top six places will be effectively beyond the reach of any club without the financial backing of this new institution.
Hopefully this proposal will be shown the red card.
FIFA, UEFA, and the Premier League all bear a degree of responsibility for what’s happening, though. And they are not innocent parties to this clusterfuck. I’m old enough to remember the controversy in 1992 when the Premier League was set up, breaking away from the Football League. The clubs were tempted by money then, just as they are now. For the Premier League to criticise the European Super League for doing something superficially similar is at least slightly hypocritical, and sadly this gives ammunition to proponents of the European Super League.
UEFA and FIFA are both institutionally corrupt, with members quite literally and demonstrably accepting bribes. The only reason next year’s World Cup will be hosted by Qatar (or the 2018 iteration was hosted by Russia) is because of bribes paid to voting members. That’s just one example, and both institutions have been plagued by bribery and corruption going back decades, putting their own interests ahead of the wider game.
FIFA – football’s governing body – is institutionally corrupt and has been for decades.
So there isn’t really a “good guy” to back in this fight. It’s the billionaires versus the billionaires in a battle for power, control, and the right to make as much additional money as possible – on top of the money they already have. It almost doesn’t matter which side wins, because the “big six” English clubs, and their equivalents in other countries, will still dominate the game regardless thanks to their international owners and the vast sums of money in the game. But that doesn’t mean that there isn’t a “lesser of two evils,” nor that the European Super League is somehow okay.
Despite the money sloshing around football, there are still surprises. Leicester’s title-winning season is a recent one, but we can also point to the successes of clubs like Wigan and Portsmouth in the FA Cup, Leeds’ successful return to the Premier League in their first season after promotion, and in Europe the likes of Montpellier’s title win in Ligue 1. Even with all the money at the top of the game, football can still be unpredictable – and that’s why so many fans around the world love it.
Portsmouth’s 2008 win shows that the FA Cup can still create wonderful surprises. Photo Credit: Jon Candy profile, CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0, via Wikimedia Commons
Taking away the most basic tenet of sportsmanship and competition – fairness – would leave European football in a very dark place. Those fairytale seasons, already eroded by the long dominance of a select few wealthy clubs, would fade into history, with all but a handful of clubs effectively relegated to second-tier status.
This is why there’s so much backlash, even if not everyone commenting on the situation can fully put it into words. A European Super League in which fifteen clubs can compete against one another in perpetuity with no threat of relegation is not only unfair as a concept in itself, but that unfairness would not be contained and would spill over into every other league on the continent. The crux of why fans of all clubs – even those proposing to join the new league – are united in opposition is because everyone recognises the inherent unfairness of the proposal, and how that unfairness would kill sporting competition.
This proposal is all about money and power – and retaining both permanently for the big clubs.
So what measures can domestic leagues, as well as bodies like FIFA and UEFA, take to prevent this from happening, especially given how far advanced the plans seem to be?
Because this is a fight over money – and the television and broadcast rights that give whoever wins the right to make money – simply expelling the teams involved, as some have suggested, doesn’t seem viable. The Premier League would lose out in that scenario, because the broadcast rights would suddenly bring in far less revenue if the likes of Manchester United and Chelsea aren’t involved. This is the game of brinksmanship that the European Super League is playing – effectively throwing down the gauntlet and saying “you can’t make money without us.”
That said, there are measures short of full expulsion that could be taken – but they’d only work if every league in Europe and FIFA can all agree. First of all, there could be automatic points deductions for all participating teams. A deduction of ten points is automatically applied to any English teams that go into administration (i.e. that become financially insolvent), and something similar could be applied in this case. This would mean all European Super League clubs begin their domestic campaigns with -10 or even -15 points, which might go some way to restoring some semblance of fairness at the top, allowing the rest of the league to potentially compete on fairer terms with an effective handicap – giving them back their shots at the championship.
Barcelona (Camp Nou stadium pictured) are one of twelve teams planning to join the European Super League.
Secondly, one proposal UEFA threw out last night was that any individual player who plays in the European Super League would be banned from international competition, including in the World Cup. This sanction would make a lot of players think twice before signing for a European Super League side, even if a lot of money were on the table. Some would still take the money, of course, but any player with dreams of representing their country would think twice.
This proposal in particular is a threat to the European Super League. If it could be expanded, with players who play in the European Super League banned from all other competitions including domestic leagues and cups, the only players who would ever agree to participate would be has-beens. The European Super League, if it were forced to operate under such restrictions, would end up looking like the Chinese league or, at best, Major League Soccer in the United States – where players who used to be good enough to play in the big European leagues essentially go to retire!
Banning players from international competition could be a way to fight back against this proposal.
By pushing restrictions onto the individual players instead of (or as well as) the clubs themselves, and remaining united in doing so, the big European leagues, UEFA, and FIFA could drive a wedge between the clubs and their players, forcing players to choose. Maybe this kind of tactic feels shady and wrong, but if it kills a bad proposal it would be worth it. Though the big clubs do wield a lot of power, they don’t hold all the cards, and if players felt that signing for Manchester United would be bad for their career, you’d see better players moving away from those big clubs, and the already-boring European Super League would look worse and worse.
And that’s another good point. The European Super League will be boring, or at least unexciting. A league where there’s no relegation for the big clubs has no threat, and with no threat comes no drama. There’ll be no reason for players to push themselves in the final minute to score that amazing goal because… what’s the point? Once you’re in the European Super League you’re set for life, apparently. If you lose fifteen matches in a row there’s no consequence, except perhaps for the manager who’ll lose his job! By destroying one of the most basic elements of sporting competition – relegation – the European Super League doesn’t have much to offer anyway.
But whatever you think about these clubs and this announcement, it all comes back to one central point: a European Super League with permanent positions for wealthy clubs is inherently and inescapably unfair. There will be consequences, somehow, for any clubs that go down this road. I just hope that, when the dust settles, football isn’t too badly damaged by this latest self-inflicted wound.
All brands, clubs, etc. mentioned above are the trademark or copyright of their respective owners. Some stock images courtesy of Pixabay. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-3, Star Trek: Picard Season 1, the Kelvin timeline films, teasers for Star Trek: Discovery Season 4 and Star Trek: Picard Season 2, and for other iterations of the Star Trek franchise.
A few days ago, Paramount Pictures announced that a new Star Trek film is in the early stages of production, with a planned release date of June 2023. Though no further information about the project was given, that didn’t stop me speculating! I’ve already put together a list of a few possible Star Trek 2023 concepts, but I wanted to give this one the full article treatment.
At a few points in Star Trek’s history we’ve seen crossovers between the different shows. Usually this takes the form of a character or two from one series appearing in another. For example, we’ve seen Commander Riker appear in Voyager, Dr Bashir in The Next Generation, and Worf in Deep Space Nine. In Star Trek’s cinematic canon, Janeway made a cameo in Nemesis, Prime Spock appeared in Star Trek and Star Trek Into Darkness, and most significantly, we got to see Captains Kirk and Picard work together in Generations.
Captain Kirk and Captain Picard in 1994’s Star Trek: Generations.
So the Star Trek franchise has a history of main character crossovers going all the way back to Encounter at Farpoint, the moment at which Star Trek debuted its second entry and replaced its original set of characters. In all of these crossovers, though, even the substantial ones that were more than mere cameos, we’ve only ever seen characters from two shows interact. What if Star Trek 2023 plans to offer more than that?
In short, here’s my theory – and if it doesn’t come to pass in 2023 we can consider it a proposal or pitch for the future! As a celebration of all things Star Trek, perhaps the new film will be the ultimate crossover, featuring a cast of characters from across the entire Star Trek franchise. How would this be achieved? Some kind of time travel story, naturally, perhaps involving the extradimensional activities of a faction like the Q.
John de Lancie has recently announced that he’ll be returning as Q in Picard Season 2!
How amazing would it be to see Captain Archer from Enterprise working alongside Riker and Janeway? Saru and Michael Burnham could team up with Geordi La Forge and Miles O’Brien. Soji and Picard meeting Kelvin Kirk. Pike and Spock fighting alongside Worf and Malcolm Reed. The potential for such a story is almost limitless.
Comic books – and the films they’ve inspired over the last decade or so – have routinely done crossovers and team-ups, and fans tend to agree that they’re amazing when done well. Star Trek, as I’ve already mentioned, has had limited crossovers before, but nothing quite on the scale I’m thinking Star Trek 2023 could bring.
This could be Star Trek’s answer to The Avengers.
There have been over 60 main characters in live-action Star Trek to date, including films and television shows, and obviously it wouldn’t be possible for Star Trek 2023 to have an ensemble cast that large! But a handful of characters from different shows representing different time periods and different parts of the franchise could absolutely come together; a perfect mixture of all things Star Trek and a true celebration of the franchise as it approaches its sixtieth anniversary.
With this many different Star Trek projects all in production simultaneously, it makes so much sense to have some kind of “Avengers assemble!” moment to bring them all together. Even if such a story were limited to bringing in characters from current shows instead of Star Trek’s back catalogue, I still think it would be well worth doing. A suitable story would need to be devised, and a villain or problem for the protagonists to overcome would need to be created, but those are the basic tenets of storytelling anyway and aren’t obstacles.
Captain Pike – soon to appear in Strange New Worlds.
I tend to say that time travel stories are not my favourites within Star Trek – or in sci-fi in general. But time travel can work, as we saw in films like Generations and episodes like All Good Things. All it would require is a simplified explanation, perhaps involving some outside power, and if the stakes were high – a threat to the entire galaxy, for example – it would make sense to bring in as many legendary characters as possible to help defeat it.
If you’re a regular reader you’ve probably heard me say on more than one occasion that the Star Trek franchise could – and should – be doing more to tie its different shows and projects together. At present, every extant Star Trek project exists in a different time period wholly separate from everything else. There have been limited prospects for significant crossovers as a result, and while Discovery Season 3 saw perhaps the biggest connection to the rest of the franchise so far, it can still feel that all of the different parts of the franchise are doing their own things independently of one another.
The Discovery Season 3 episode Unification III referenced events from The Next Generation and Picard.
While too many ties and connections can be offputting, especially for casual viewers, not enough references or crossovers means there’s no incentive for the audience to stick with Star Trek and jump into other parts of the franchise. It’s possible to watch Discovery as a standalone show and not even be aware of the existence of Picard, for example – and vice versa. More of these connections between different parts of the franchise could, if done right, encourage viewers of one series to hop over and try out others – and Star Trek 2023 could potentially be the biggest opportunity so far to do that.
Perhaps some looming threat in the 32nd Century forces Michael Burnham to call upon Starfleet’s finest from centuries past, and she travels back in time to pick up a number of officers, scientists, and soldiers to help her defeat whatever it is that’s coming. Or perhaps an outside power like Q forces his friend Picard to work with different people from different eras to tackle some existential crisis. There are a million-and-one ways for Star Trek to introduce the kind of time travel scenario needed to link up some of the franchise’s superstars for one amazing crossover event.
“Let’s fly… to the past!”
So who would I pick to join the crew? I think we have to start with the main shows in production (and one that could be in production by 2023). Admiral Picard, Michael Burnham, Captain Pike, and Section 31 leader Georgiou would head up the cast, and from there we could bring in perhaps one additional member of their respective crews for a more significant role – maybe with smaller roles or cameos on the cards for others. Then I’d dearly like to bring back at least a couple of other characters from Star Trek’s past – someone like Dr Bashir, perhaps, or Tom Paris.
The film would follow these characters as they worked to solve whatever problem they’re facing, with each of the principal characters making use of their unique perspective and skillset to help contribute to the project. There could be teething problems with the team as they get to know one another, but generally I’d stick to having them work well as a team, with emphasis on how people from different backgrounds and with different outlooks can all find ways to contribute. Then there’d have to be some kind of tense final battle or confrontation before everyone – or at least, the survivors – part ways and return to their respective eras.
The Section 31 series could be underway by 2023…
I guess now we’ve crossed over from the realm of reasonable speculation into fan fantasy! And I’m not the first person on the internet to propose an “ultimate crossover” of Star Trek crews; such talk has been around since before Generations in the mid-1990s! While I don’t know whether Star Trek 2023 will go down this road, I do think that a major crossover could and should happen at some point in the future. Not only would it serve a purpose and tie together previously-separate parts of the franchise, but I bet it would be an incredibly fun film for Trekkies – and non-Trekkies too!
So that’s it, really. This half-theory, half-fantasy is that Star Trek 2023 will be the “ultimate crossover” and bring together characters from across the franchise to tell a single, epic story. Even if this film doesn’t do it, I still hope this kind of crossover event will happen one day!
The currently-untitled film Star Trek 2023 is being produced by Paramount Pictures and ViacomCBS. Star Trek 2023 has a tentative release date of the 9th of June 2023. The Star Trek franchise – including all shows, films, characters, etc. mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Nintendo showed off two big projects last year to celebrate the 35th anniversary of the Super Mario franchise: Super Mario 3D All-Stars and Super Mario 3D World + Bowser’s Fury. Perhaps pushed by the awful forced scarcity of Super Mario 3D All-Stars – which was removed from sale arbitrarily last month – but also excited at the prospect of replaying Super Mario 64, that was the game I picked up on release day. And it was an underwhelming experience; £50 not particularly well-spent.
Don’t get me wrong, Super Mario 3D All-Stars is okay, and for someone who’s never played any of the games included I could recommend it under some circumstances. All three games work, and there have been some very minor improvements to the way Super Mario Sunshine and Super Mario Galaxy look. But that’s all you got for £50 – three games, the newest of which is from 2007, slightly tweaked. Super Mario 64, one of my favourite games of all time and the title I was most excited to replay, looks pretty crappy in the 3D All-Stars collection, with a strange frame resolution that leaves black bars around all four sides of the screen. They couldn’t even get it to fit the screen top to bottom! Even an emulator can manage that!
The pretty crappy way Super Mario 64 looks in the 3D All-Stars collection is disappointing and a little offputting.
So I was unimpressed with the Super Mario 3D All-Stars collection, and it’s the one game in the last couple of years that I genuinely regret purchasing. I broke my own rule about day-one purchases, and picked it up without waiting to see any reviews or gameplay assuming that Super Mario 64 alone would make it worthwhile. Given that the version of Super Mario 64 is itself underwhelming, the entire collection felt disappointing and was certainly very overpriced.
The other Mario game announced for the 35th anniversary was Super Mario 3D World + Bowser’s Fury. 3D World had been a Wii U title, so this is a port, but Bowser’s Fury is entirely new. Even though it’s been out for a couple of months now I avoided picking it up. I don’t have an unlimited budget for video games – or anything else, come to that – and after my recent disappointing experience with Super Mario 3D All-Stars I was not overly keen on spending more money on another Mario title. But earlier this week I got a reasonable deal on a second-hand copy and decided to give it a shot.
Cat Mario is just too cute!
Super Mario 3D World + Bowser’s Fury is unquestionably the title I should’ve picked up instead of Super Mario 3D All-Stars. It’s superior in practically every respect. The Wii U gameplay has been perfectly ported to the Switch, and while it perhaps doesn’t look quite as shiny as Super Mario Odyssey, it’s a perfectly acceptable 3D platformer with a cute Mario aesthetic that matches the rest of the franchise. And the cat costumes are just so adorable – I’m a cat owner (I have four) and I love practically anything cat-themed!
Bowser’s Fury is a brand-new mode made for the Switch. To call it a “mode” is a bit uncharitable, as Bowser’s Fury could just as easily be a standalone game in its own right. Perhaps not a full-priced one, as it’s relatively short, but it easily stands up against other Switch titles in terms of how much fun it is to play. The new addition adds a lot to Super Mario 3D World, elevating the experience of the original Wii U title. And it’s fair to say that, without Bowser’s Fury, Super Mario 3D World on its own would be a harder sell – especially for someone like me who’s already played it.
Bowser doesn’t look happy…
Gameplay-wise, Nintendo’s expected high quality is present, with no major bugs, glitches, or crashes getting in the way. And I’m having fun playing Super Mario 3D World + Bowser’s Fury, which I really haven’t been able to say about the Super Mario 3D All-Stars collection.
Nintendo have had some great successes since the Switch launched in 2017. It seems clear to me, though, that the 35th anniversary of the Super Mario franchise was originally supposed to be bigger. Bowser’s Fury is really the only new game that’s been part of the celebration, and while we know that Nintendo suffered a lot of production delays due to the pandemic, that doesn’t account for all of it. Super Mario 3D All-Stars felt rushed; a collection cobbled together at the last minute perhaps because Bowser’s Fury wasn’t ready.
Promo screenshot for Bowser’s Fury.
Unfortunately, talk of a new or updated “Switch Pro” is hanging over Nintendo at the moment. Having ported over the main Mario games present on the Wii U, now could have been the time for the company to build on the successes of Super Mario Odyssey and now Bowser’s Fury, launching new titles in the franchise. With the 30th anniversary of Mario Kart coming next year, perhaps a new title in that series could be in the offing. But this rumour of a potential new console needs to be cleared up as soon as possible – fans need to know what they can expect from Nintendo in the short-to-medium term.
Bowser’s Fury takes advantage of the Switch’s hardware to do things that Super Mario 3D World couldn’t have managed on the Wii U. And that offers a pathway forward; an opportunity to build on its successes and develop new titles in the series for the current console. With the number of units sold rapidly approaching the numbers Nintendo saw with the Wii, shifting focus to new hardware now seems positively stupid. The Switch easily has four or five years’ of life left in it at the very least, and there should be many more games in the vein of Bowser’s Fury to come. I hope this talk of a new console or a variant which will have exclusive titles can be put to bed ASAP so Nintendo fans can focus on enjoying the current system to its fullest.
Cat Peach, Toad, Mario, and Cat Luigi.
For my money, Bowser’s Fury makes Super Mario 3D World worth the buy. If you weren’t one of the nine people besides me who owned a Wii U a few years ago, the base game is also great and will be new to you as well. On its own, Super Mario 3D World isn’t as good as Super Mario Odyssey, but it’s a solid title in its own right. The cat suits which are the game’s big new feature are more than just a visual gimmick, as the power-up they offer does change the way Mario (and the other characters) interact with the game world.
I don’t have any friends to sit down with on the couch and play Super Mario 3D World with. Wait, that sounds sad! What I mean is that the game offers a multiplayer mode for up to four players, and while I haven’t been able to take advantage of that for myself, if you have people to play with, you’ll get a classic-feeling Super Mario experience that can be enjoyed together.
I was left disappointed last year with Super Mario 3D All-Stars and Nintendo’s anniversary of the Super Mario series. But it turns out that I just bought the wrong game. Super Mario 3D World + Bowser’s Fury is an appropriate celebration of Nintendo’s mascot and his 35th birthday, and I’m glad to have picked it up.
Super Mario 3D World + Bowser’s Fury was developed and published by Nintendo and is out now for Nintendo Switch. The Super Mario franchise – including all titles mentioned above – is the copyright of Nintendo. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Civilization VI was released for PC in 2016, and was subsequently ported to home consoles. The game quickly became one of my favourite strategy titles, despite not having played many turn-based strategy games beforehand. There have been new games in the Civilization series every five or six years on average, so with the current title approaching its fifth anniversary, now seems like as good a time as any to consider a few historical factions (and their leaders) that the next game in the series could include.
In the 1990s, when the first couple of Civilization games were around, I was more of a fan of real-time strategy offered by the likes of Command and Conquer, Red Alert, and Age of Empires. It wasn’t until 2016 that I gave the series a fair shake and came to realise just what I’d been missing! Civilization VI became my most-played game of the late 2010s, and at this point I’ve sunk hundreds of hours into playing it.
Civilization VI (2016)
Civilization VI has a roster of almost 50 factions, some of whom have two leaders to choose from. These factions come from all over the world and represent a huge span of history, from the distant past to contemporary times. I’ve tried to pick a similar range for my list, including factions from different continents and who flourished at different points in history.
Some strategy games can feel European-centric, partly because of the unconscious bias of their developers, perhaps, but also because European history is generally subject to more detailed study and has more archaeological and documentary evidence preserved. Civilization VI – and the whole franchise, really – has done well to avoid this particular pitfall, and I hope to do the same!
For the sake of clarity: I don’t have any “insider information.” I’m not claiming any of these factions will appear in Civilization VII or any future entry in the series. I don’t even know for sure that such a game is in development! So please keep in mind that this is a wishlist from a fan of the series. Nothing more. With that out of the way, let’s take a look at the list!
Number 1: Faction: Wales Leader: Llywelyn the Great (13th Century)
The flag of Wales.
Starting close to home, the Civilization series has previously featured the English and Scottish, but never the Welsh! Though England and/or the British Empire are mainstays of this series – and of strategy games in general – it would be great to see an independent Wales featured for a change.
Wales still exists today as a constituent country of the United Kingdom, and recent decades have seen a degree of self-government, with powers delegated from the British parliament in London to the Welsh Assembly. But Wales existed as an independent realm for centuries before falling to English conquest in the 13th Century.
Modern statue of Llywelyn the Great.
There are many historical and legendary figures from Welsh history to choose from, but few are as successful as Llywelyn the Great. He came to dominate Wales in the early 13th Century through a series of conflicts, annexations, and wars. He successfully defended Wales against the English, sided with the Barons against King John in 1215, and after starting his reign as a minor noble, came to be recognised as the ruler of practically the entire country.
In terms of a unique tech, unit or building, Wales could have the Millennium Stadium – home to the Welsh football and rugby teams. Wales is a strong sporting nation, with a rugby team that punches above their weight, frequently appearing at the pinnacle of the game despite the country’s small population.
Number 2: Faction: Inuit Leader: Nerkingoak (18th Century)
Territorial flag of Nunavut, Canada, a territory with a large proportion of Inuit peoples.
The Inuit peoples (also known historically as Eskimo) inhabit the northernmost reaches of North America. Related populations also exist in northern Russia, Greenland, and Europe. Though Civilization VI introduced several Native American factions – and Canada – the Inuit were not amongst them, and it would be great to see them included in future.
Bringing indigenous peoples into works of fiction like this can be controversial, but developers Firaxis have managed to work with representatives of different groups during the development of past games and expansions to ensure their perspectives are listened to. In short, the controversy boils down to two things: these games involve war and conquest, something native groups argue their ancestors did not participate in, and the fact that indigenous peoples have to be “westernised” in order to be competitive factions, developing technologies they didn’t historically use. Those are understandable objections.
Mikak, daughter of Nerkingoak. Painting by English artist John Russell c. 1769.
Little is known about the life of Nerkingoak, who was a tribal leader in the mid-18th Century. His daugther, Mikak, visited England in 1768 as part of a plan by the English to broker better trading agreements with Inuit leaders. Because of the harsh environment of the Arctic Circle, many Inuit peoples lived traditional lives with little interference from European powers well into the 19th Century.
The natural fit for the Inuit in a Civilization game would be to give them the ability to live and settle in the coldest parts of the map! Perhaps by ensuring Inuit settlements could thrive on snow and ice tiles they’d get a unique gameplay advantage, being able to settle areas of the map that most other factions would consider to be out-of-bounds.
Number 3: Faction: Madagascar Leader: Queen Ranavalona I (19th Century)
Modern-day flag of Madagascar.
Though Madagascar’s capital city, Antananarivo, appears in Civilization VI as an independent AI-controlled city-state, Madagascar itself – or its Malagasy people – have not been a playable faction. Madagascar’s location as an island off the African coast has led to its society being a blend of African, Asian, Arabic, and European, and while still considered “off the beaten track” in the 21st Century, tourism has become a big part of the Madagascan economy.
Madagascar was one of the last parts of Africa to be colonised by Europeans, spending 63 years as a French colony. The island was invaded during World War II by the Allies to take control away from Vichy France, and would be important later in the war for Allied shipping around Africa.
An engraving of Queen Ranavalona I.
In the early 19th Century, with European powers intent on colonising all of Africa, Queen Ranavalona I stood in opposition, successfully maintaining Madagascar’s independence for her entire reign. At a time when women were not generally in positions of power anywhere in the world, her powerful and successful policy of isolation – while marred by other domestic problems – can certainly be considered a success.
In terms of unique technologies, perhaps Madagascar could take advantage of its incredibly diverse wildlife, with some kind of animal park or national park. Alternatively, Queen Ranavalona I’s policy of strict isolationism could see opponents’ units or religions deteriorate inside Madagascan borders.
Number 4: Faction: Xia China Leader: Yu the Great (2nd millennium BC)
No known flag or banner of the Xia dynasty exists. This jade axe head is believed to date from the period of the Xia dynasty.
Chinese history falls into many distinct dynastic periods, the earliest of which is the Xia dynasty. Though the Xia did not govern all of modern-day China, their influence on successive Chinese rulers was significant, as the Xia established the concept of dynastic rule by Emperors.
As we head this far back in time, history, legend, and myth all blend together, and although there are extant relics and artefacts from the Xia period, little can be reliably known about the Xia period or its leaders; practically everything we know comes from later sources.
Han dynasty depiction of Yu the Great.
Yu the Great was the legendary emperor who was said to have “controlled the waters,” reducing flooding in the Xia heartlands. Rather than damming rivers directly, or building dykes and levees, Yu dug canals and irrigation channels to mitigate the worst floods, keeping Xia farms safe from unpredictable flooding.
Surely one of the unique properties of Xia China would have to be connected to that! Perhaps Yu would be able to build farms further away from water sources due to his irrigation prowess, or if natural disasters are part of the game, Xia China could be immune to flooding.
Number 5: Faction: The Confederate States of America Leader: Jefferson Davis (19th Century)
The flag of the Confederate States of America c. 1864.
A controversial choice, perhaps, but the Confederate States of America (a.k.a. the Confederacy) is seldom depicted outside of titles specifically about the American Civil War, and could be an interesting inclusion in the next Civilization game. The CSA was founded by political leaders from the American Southeast in 1860-61, and it was their intention to break away from the United States of America following the election of Abraham Lincoln, a known abolitionist. On a personal note, the American Civil War has long fascinated me, and is a subject I studied at length while at university.
To this day some neo-Confederates defend the CSA as pushing for “states’ rights,” but there can be no separating the attempted creation of the country from the issue of slavery. The Confederacy would formally exist for a mere four years before defeat in the American Civil War in 1865 saw the USA re-occupy all of its territory. The breakaway states were slowly given full readmission to the Union in the second half of the 1860s, and the country tried to move on – not always successfully.
Jefferson Davis.
Jefferson Davis was the Confederacy’s first and only president, and by his own account didn’t want the job when it was first offered to him. Regardless, he accepted, and though unsuccessful during the war, in the 1870s and 1880s he wrote a significant work detailing the events from his point of view, becoming a leading proponent of the “lost cause” mythology that defined southern thinking for decades.
Perhaps the Confederacy could be given a unique unit – General Robert E. Lee. Historical analysis generally ranks Lee as one of the finest military tacticians of his generation, and his leadership of Confederate forces in the latter part of the war arguably postponed the Confederacy’s defeat.
Number 6: Faction: Knights Hospitaller (a.k.a. Order of St. John) Leader: Jean Parisot de la Valette (16th Century)
Shield of the Knights Hospitaller.
The Knights Hospitaller were a Catholic religious order, created during the crusades. They were initially headquartered in Jerusalem, following the city’s conquest by crusaders, but subsequently lived on Rhodes and finally Malta. The Knights’ defence of Malta is legendary, defeating a massively superior Ottoman force at the height of the Ottoman Empire’s expansion into Christian Europe.
The Sovereign Military Order of Malta still exists today, albeit in a very different form. Finally driven from Malta by Napoleon in 1798, the Order is now headquartered in the Vatican along with other Catholic religious orders. They have recently returned to Malta in a limited capacity, however, leasing Fort St. Angelo – an important fortification during the defence of Malta – from the Maltese government.
Jean Parisot de la Valette was a French nobleman who was Grand Master of the Order during the 1550s and 1560s. He commanded the defence of Malta against Ottoman forces led by Dragut on behalf of Suleiman the Magnificent. The Knights’ victory after a brutal siege was the first reversal the Ottomans suffered, and marked the beginning of the end of Ottoman expansion into Europe. The Maltese capital Valetta is named in his honour. I cannot recommend the book The Great Siege by Ernle Bradford highly enough if you want to learn more about this fascinating event!
The Knights could draw on either their defensive strategy at Malta or their inhabitation of islands for unique techs and bonuses in Civilization VII, perhaps with a unique defensive fortification that could restore a portion of its strength at the end of each round, mimicking how the Knights resupplied Fort St. Elmo during the siege of Malta.
Number 7: Faction: South Sudan Leader: TBD
The flag of South Sudan.
South Sudan has been a country for less than a decade, officially becoming independent from Sudan in July 2011. It’s the world’s newest country! Despite the joy many South Sudanese felt at independence, however, economic issues combined with a bloody civil war have made the country a difficult and dangerous place to live.
African nations and civilisations tend to be under-represented in strategy games – and in western media in general – so South Sudan would be an interesting inclusion in any future game. With other independence movements around the world, South Sudan won’t remain the world’s newest country forever, but the fact that it’s in that position now would make it a first for a game like this!
South Sudan’s location in Africa. Picture Credit: Wikimedia Commons.
Because of the South Sudanese civil war and ongoing problems within the country, it’s difficult to choose a real-life figure for the game. It would feel wrong to encourage players to take on the role of one of South Sudan’s real-life political or military figures given things like restrictions on freedom of the press and accusations of criminal acts during the civil war. Perhaps that rules out a country like South Sudan for a game like this – but there are positives too, including the mere act of representation.
As a new nation born in the 21st Century, South Sudan could have a unique characteristic based on that. Its status as a nation on the upper reaches of the River Nile could also be the source of a unique technology or ability.
Number 8: Faction: Nepal Leader: Prithvi Narayan Shah (18th Century)
Nepal has a unique flag!
Despite being sandwiched between China to the north and British-controlled India to the south, Nepal managed to remain independent. That’s no mean feat considering much of the region came under the control of European powers in the 18th and 19th Centuries, and perhaps Nepal – which was for a long time the world’s only Hindu monarchy – was helped by its location in the Himalayas.
Nepal coalesced in the mid-1700s following a series of annexations and conflicts, and has remained unified ever since. Its terrain helped keep it relatively isolated, and though there were contacts and trading going on with India and China, Nepali society and culture developed separately from its larger neighbours.
A painting of Prithvi Narayan Shah.
Prithvi Narayan Shah is considered the “Father of the Nation.” He was the first King of Nepal, and he was the leader who first unified (and conquered) the smaller kingdoms present in the region, coalescing them into a single nation. The Shah dynasty he founded would rule Nepal until 2008 when the country became a republic.
In a game like Civilization VII, Nepal’s bonuses would surely be derived from mountains. Nepali units could be able to traverse mountains, they could found cities and build other improvements on mountain tiles too. In the late game, perhaps Nepal could see a tourism boost, reflecting the increase in the number of tourists in the 21st Century who flock to the country to visit and climb Mount Everest.
Number 9: Faction: Khoisan Peoples Leader: ǂKá̦gára (mythological)
There is no Khoisan flag that I could find. This piece of Khoisan cave art may be over 20,000 years old.
The Khoisan peoples are not one single homogenous group. They are, in fact, a collection of related peoples who inhabit southern Africa. The Khoisan peoples were South Africa’s first inhabitants, arriving millennia before the Bantu-speaking peoples and white colonists.
Anthropologists consider Khoisan peoples to be the descendants of the first humans to leave the “cradle of humanity” in Africa, and thus they may very well be the longest-established groups of people anywhere on Earth, having inhabited southern Africa for more than 150,000 years. Though they suffered greatly under South Africa’s apartheid regime, many Khoisan peoples retained their traditional hunter-gather nomadic lifestyle well into the 20th Century.
Khoisan people depicted in colonial-era art.
Khoisan languages were never written down, and are still being studied by linguists and anthropologists. There is a mixture of history, legend, and myth in their oral traditions, making it hard to choose a distinct historical figure. ǂKá̦gára, the one I’ve proposed here, is almost certainly mythological, perhaps closer to a demi-god than a human!
The Khoisan peoples in Civilization VII could benefit from staying in their starting region, reflecting the Khoisan peoples’ real-world history of continuous inhabitation of southern Africa. Additional bonuses could be added for each era the Khoisan stay put, granting defensive bonuses or economic ones.
Number 10: Faction: Wessex Leader: Alfred the Great (9th Century AD)
A modern flag of Wessex.
We come full-circle and end where we began: the British Isles! As mentioned, England and Scotland have been included in past Civilization games, but none of their predecessors have been. Wessex was an independent kingdom from the end of Roman rule in Britain until the formation of England itself – which was done under the rule of the royal house of Wessex.
Wessex was initially one of many smaller Anglo-Saxon kingdoms during England’s dark ages. The end of Roman rule left a power vacuum, and sub-Roman Britain collapsed into a number of independent realms, one of which was Wessex in the south-east. After fighting against other Anglo-Saxon kingdoms and against the Vikings, Wessex would eventually succeed at unifying England into a single country.
18th or 19th Century depiction of Alfred the Great.
Alfred the Great is an historical figure with legendary status in England. His rule saw conflict at first, but eventually he was able to make peace with the Vikings, leading to a period of stability for his kingdom. Alfred also paid great attention to education, insisting that schools switch from using scholarly Latin to vernacular English as their language of instruction.
Any bonuses previously assigned to England could in theory be assigned to Wessex in a future Civilization game, but there could also be bonuses based on Alfred’s reputation as a learned man with a passion for education. For example, schools and universities could generate additional science and/or tech points.
So that’s it. Ten factions and leaders who could potentially be part of the next game in the Civilization series… whenever that may come!
The Civilization series has come a long way since its debut in 1991!
I’ve tried very hard to be respectful to the diverse peoples and nations on the list above, and I hope that comes across. There’s always a debate about how to include different civilisations and peoples in games like this. I’m a big advocate of representation in all forms of media, especially for peoples who have been historically under-represented, but I understand the argument that has been made by different peoples and their representatives in the past about their inclusion in games about warfare and conquest, as well as the “westernising” of their cultures. Developers have to walk a delicate line between making a game that’s fun to play and in which factions are balanced while avoiding “whitewashing” or excessive historical revisionism. I hope developers Firaxis and publisher 2K Games can manage to get the balance right.
This could be an entire essay in itself, and perhaps one day I will write on this subject in more detail. For now, suffice to say I’ve tried to pick some different factions and leaders that I haven’t seen depicted in many games or in the Civilization series. Whether any of those above will be included in future is anyone’s guess, but I think it would be neat if they could be.
Though I don’t know for sure whether a new Civilization game is in development, it feels like an inevitability that a new game will eventually be made. The popularity of Civilization VI shows that there is a market for this kind of turn-based strategy or digital board game, and while there are other titles in the genre on the horizon – such as the upcoming Humankind – I’ll be really interested to give Civilization VII a try whenever it’s ready!
Civilization VI is out now for PC, PlayStation 5, Nintendo Switch, and Xbox One. The Civilization series – including all titles mentioned above – is the copyright of Firaxis and 2K Games. Some images courtesy of Wikimedia Commons. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Lower Decks Season 1, the teaser for Season 2, and for Star Trek: The Next Generation.
We recently took a look at the Season 2 teaser for Star Trek: Lower Decks, and made a few guesses about what some of the scenes might entail. Season 2 is due to be broadcast beginning in mid-August, exactly one year after Season 1 made its debut, and though it’s a little way off yet it’s never too early to indulge in some theory-crafting and speculation!
Because of its largely episodic nature, Lower Decks Season 1 didn’t lend itself to the creation of too many theories. For the most part, events took place in a single episode, and the crew warped away to a new adventure the week later. But No Small Parts, the Season 1 finale, brought about some big changes for the series, and creator Mike McMahan promised that these wouldn’t simply be undone, resetting the show off-screen in time for Season 2.
Boimler and Mariner in Season 1.
Aside from the death of poor Lieutenant Shaxs, the two biggest changes came with Ensign Rutherford losing his memory – or at least his memories of what took place in Season 1 – and perhaps most significantly, Ensign Boimler’s promotion and reassignment to the USS Titan. It’s this latter point that we’re going to look at today.
Somehow Boimler has to get back to his friends aboard the USS Cerritos – but how? And when? At least part of the teaser showed us Lieutenant Boimler in his new role as a bridge officer on the USS Titan, so we know whatever it is won’t happen off-screen, as Mike McMahan promised. Were there any clues at all in the teaser that we could point to when it comes to Boimler? After all, he wasn’t shown interacting with the other three main characters at all. Let’s find out, shall we?
As always, it’s worth saying that I have no “insider information.” I’m not claiming that anything listed below will definitely happen, it’s guesswork and speculation from a fan. Nothing more. With that out of the way, let’s consider eight ways Lieutenant Boimler could find himself back aboard the USS Cerritos.
Number 1: Boimler asks for a demotion voluntarily.
This is not the face of a happy officer!
The Season 2 teaser seemed to show us two significant things about Boimler: he doesn’t understand Captain Riker, and he seems to be out of his depth on the USS Titan. Boimler is neurotic and prone to panic, as we saw in Season 1, and neither of those traits make for an officer who’s good in a crisis. The Titan, unlike the Cerritos, is a much more adventurous starship, seeking out new life and getting into all kinds of scrapes. Perhaps, after spending some time there, Boimler realises he’s simply out of his depth.
There’s no shame in admitting a task is too difficult, and rather than struggling on with something he simply can’t do, Boimler may approach Captain Riker and ask to be transferred back to the Cerritos, taking a voluntary demotion.
Boimler on the bridge of the Titan with Captain Riker.
Though we didn’t hear Marina Sirtis’ voice in the teaser, it’s possible she will reprise her role as Counsellor Troi, and if she’s back perhaps Boimler will turn to her for advice about what to do. Troi was always gentle and polite in the way she approached even the most neurotic of officers – like Lieutenant Barclay – but perhaps this could be a moment for Lower Decks to subvert that by having her tell Boimler to jump ship!
Either way, sometime in the first episode (or first couple of episodes, at least) Boimler may approach Captain Riker and ask for a demotion, telling his new commanding officer he doesn’t feel up to serving on the Titan.
Number 2: Rutherford or Tendi accidentally get Boimler demoted.
Rutherford in the Season 2 teaser.
This could play well with the “Rutherford’s lost his memory” storyline, but a subversion of the audience’s expectations that either Boimler does something to get demoted or Mariner deliberately gets him kicked back to the Cerritos would be to make it the inadvertent fault of Tendi or Rutherford.
At this stage it has to be said that most keen fans of Lower Decks are expecting one of those two scenarios to play out. Mariner was the character who seemed most hurt by Boimler’s decision to leave the Cerritos – and to not tell her beforehand – so it stands to reason she might want to interfere and get him back. We’ll consider that in a moment. Boimler’s tendency to mess up and panic could also see him bumped back to the Cerritos, and that’s another fan expectation.
Tendi in Season 1.
But Lower Decks has done well with challenging those kinds of expectations in Season 1, and I hope Season 2 won’t go down any obvious paths. Rutherford is known for his love of technology, but that has landed him in trouble more than once in Season 1. Perhaps one of his inventions gets out of control and harms the Titan, making it seem as though Boimler is responsible?
Tendi, as I’ve mentioned more than once, felt somewhat rudderless last season, and hasn’t really settled into her role as well as the other three main characters. But we saw her ability to screw up in the episode Moist Vessel, where she accidentally ruins an “ascension.” Perhaps she could have some kind of similar accident here, one that causes Boimler to get demoted.
Number 3: Mariner gets Boimler demoted on purpose.
Boimler and Mariner in Season 1.
As mentioned, this has to be one of the firm favourites in the fan community for how Boimler will end up back on the Cerritos in Season 2. Despite that, however, I think it would be an awful choice for the show, undermining Mariner’s character progression across Season 1. I really hope Lower Decks doesn’t go down this route.
Where Lower Decks didn’t do so well in Season 1 – at least in my opinion – was in trying to make Ensign Mariner out to be some kind of “ultimate badass;” Starfleet’s answer to Rick Sanchez from Rick and Morty. That kind of character can succeed in comedy – as Rick himself proves – but in a Starfleet setting, and particularly coming from a junior officer, it fell completely flat every time the show tried it.
Mariner in the captain’s chair in the Season 1 finale.
Mariner had a truly satisfying arc across Season 1. She came to understand more about herself and what she does and doesn’t like about serving in Starfleet, and even put aside her differences with Captain Freeman – her own mother. Reverting back to how she was at the beginning of Season 1 by selfishly putting her own wants ahead of her friends would be worse than just a regression, it would be a betrayal of her character.
Regardless of what I think, the possibility exists that Mariner may try to sabotage Boimler’s promotion, intervening in just the right way to get him demoted and reassigned back to the Cerritos.
Number 4: Boimler gets promoted.
Lieutenant (j.g.) Boimler aboard the USS Titan.
So far we’ve considered possible ways Boimler could get demoted – but what if his return to the Cerritos is prompted by a promotion instead? Boimler was a junior lieutenant at the end of Season 1, and in that role was able to serve on the Titan. But perhaps the Titan doesn’t have space for a full lieutenant and he bounces back to the Cerritos after an especially successful assignment!
A lieutenant is still a relatively junior officer, and Boimler attaining such a rank wouldn’t necessarily undermine the premise of Lower Decks. He could continue to work with the other three principal characters even if he technically outranks them, and that could become a source of humour.
Boimler in Season 1.
I’m not sure how likely this one is given the show’s original intent was to focus only on ensigns doing menial tasks aboard a starship, and while having a lieutenant in their midst would open up different storytelling options – and options for jokes and humour – it does, in some respects, go against what the show intended to be about.
Having Boimler be promoted would be a subversion, though, completely challenging audience expectations for how he returns to the Cerritos! That in itself could make it worth doing – after all, he can always get demoted again later if a storyline requires it!
Number 5: Something connected to an away mission.
Though he isn’t easy to spot, in the upper-right of this image from the teaser you can see Boimler.
The image above is taken from the Season 2 teaser, and seems to show Boimler on an away mission. While three colleagues defend the position, Boimler appears to be working on some kind of computer terminal. It isn’t possible to tell who the three are, but they clearly aren’t familiar characters from the Cerritos; certainly not the three ensigns. So perhaps this away mission takes place while Boimler is assigned to the Titan.
If the away mission goes wrong, or if Boimler’s role in it does, perhaps it’s what leads to his demotion and/or reassignment. Alternatively, this could be the moment Boimler decides for himself to step away from the Titan; perhaps the away mission was too stressful for him. It certainly looks like he’s under pressure!
“Zoom and enhance!”
I can’t tell what it is that Boimler is working on. It could be a power generator, a weapon, some kind of factory, or something else entirely. It’s underground, which suggests it could be something that’s supposed to be a secret. And Boimler and the others aren’t wearing Starfleet uniforms, which could mean they’re undercover. They might even have been captured and this moment is depicting their escape.
Though this could be a holodeck programme or something else, it appears on the surface to show Boimler in a difficult situation. Given how prone he can be to panicking and overreacting, that could mean it’s the moment where he decides – or someone else decides on his behalf – that he needs to take a step back and return to a more junior role.
Number 6: Boimler is demoted by Riker.
Troi and Riker conducting crew evaluations in The Next Generation Season 7 episode Lower Decks.
This could be connected to the away mission above, or it could be something different, but perhaps the best explanation is that Riker, after evaluating Boimler’s performance for himself, simply decides that he isn’t cut out to be a lieutenant or to serve on the Titan. There may not be one single event to point to as the cause; instead we may see a number of smaller mistakes across the course of the first episode or two.
In the Season 2 teaser, Boimler appeared to be serving on the bridge and failed to understand one of Riker’s commands. At the same moment, the USS Titan was drifting toward some kind of anomaly and was under attack by at least one alien ship. Boimler’s failure at a key moment like that – even if it were prompted by Riker’s confusing turn of phrase – could be the cause of his demotion.
Boimler and Riker on the bridge of the USS Titan.
If Boimler is to be demoted back to ensign, having that be caused not by Mariner or the others would probably be the best way to go. It may not paint Riker in the best light, but this “version” of the character is different, and in the context of Lower Decks it would probably be fine even if Riker came across as too harsh. Keeping Mariner out of things would probably be the best way to go, allowing her friendship with Boimler – one of the high points of Season 1 – to remain in place.
We know from the way he conducted himself in Season 1 that Boimler can be anxious and easily overwhelmed, especially when things start to go wrong. Though his role in the episode Temporal Edict showed he can be a competent officer, at numerous other points across the season he panicked and allowed circumstances to get away from him. Riker may simply decide, based on that evaluation, that he isn’t cut out for a role under his command – at least, not yet.
Number 7: Mariner challenges Riker to an anbo-jyutsu match.
Mariner in anbo-jyutsu armour in the Season 2 teaser.
One of the most interesting moments in the Season 2 teaser was Ensign Mariner donning anbo-jyutsu armour. Anbo-jyutsu was a 24th Century martial art seen in The Next Generation Season 2 episode The Icarus Factor, and the only major character we ever saw participate in a match was… Will Riker!
The Season 1 finale confirmed that Riker and Mariner know each other to some extent, though he clearly wasn’t keen enough to offer her a role on his ship! But given that they have some kind of history, and that Riker knows Captain Freeman as well, perhaps Mariner will try to use her connection to Riker to get Boimler back.
Riker in anbo-jyutsu armour in The Next Generation Season 2 episode The Icarus Factor.
In short, here’s this theory: Mariner challenges Riker to an anbo-jyutsu match. The prize? Boimler. Though this would surely be conducted over Boimler’s objections, whoever wins the match – surely Mariner! – would get to keep Boimler. When she wins, he gets transferred back to the Cerritos even if he doesn’t want to or didn’t do anything wrong.
This could be played for laughs far more easily than Mariner mean-spiritedly trying to sabotage Boimler’s career. And if his time on the Titan wasn’t mentioned subsequently, we wouldn’t necessarily have any reason to feel that Boimler holds a grudge for his reassignment to the Cerritos. He may, as mentioned, even get to keep his new rank in such a scenario. This would involve Mariner, the show’s protagonist, and allow her to get her way, but wouldn’t drag her character back quite so far as if she deliberately did something to get Boimler kicked off the Titan.
Number 8: Boimler remains on the USS Titan all season.
The USS Titan in the Season 2 teaser.
With all of these theories for how Boimler could end up demoted and back on the Cerritos we’ve missed something obvious! Instead of any of that happening, Boimler could instead remain aboard the Titan.
There are many ways that the characters could still work together at a distance – and given that the current state of the world has a lot of people working remotely, there could be something rather timely in a series of stories that show Boimler having to video call with his friends instead of being able to spend time with them in person!
Boimler was very excited to see the Titan in Season 1!
The Titan and the Cerritos, at least at the end of Season 1, were both operating in roughly the same region of space. Perhaps Season 2 will see them work in tandem, or as part of a larger fleet. I’m not sure how this would work with the “second contact” mission that the Cerritos had in Season 1, but we didn’t see that many second contacts in Season 1, with the Cerritos also undertaking other assignments.
Perhaps the solution to the “Boimler problem” has been staring us in the face the whole time – he doesn’t need to be reassigned or demoted, and can remain in the role he worked so hard to win last year.
So that’s it. Eight theories for Lieutenant Boimler’s role in Season 2.
Boimler at his post on the Titan’s bridge.
In many ways, Boimler being promoted and reassigned felt like it could have marked the final end of Lower Decks; the series finale. And perhaps that was how it was originally written before the creative team knew that a second season was definitely going ahead. Though Lower Decks has now been renewed for a third season and will hopefully run for several more beyond that, the natural end for a show like this, focusing on characters of lower rank, is to see them promoted and moving on to bigger things. Boimler’s role on the Titan could have been that moment for the series.
We didn’t see any signs in the Season 2 teaser of Boimler back in his old uniform, nor interacting in any way with anyone from the Cerritos. So at this stage we have to say that anything could happen! He could return to his old role right at the beginning of the season, he could stay on the Titan for an episode or two, and so on. How he might end up back on the Cerritos is also entirely unclear, and all I can do at this stage is make a few guesses!
Ensign Mariner in the Season 2 teaser.
For my two cents, I hope that if Boimler is to be kicked back to the Cerritos, it doesn’t come at the expense of Mariner’s character growth. She clearly wants him back, and that’s understandable. But if she were to interfere and sabotage him, even though it’s a comedy and such a moment would be played as a joke, it wouldn’t feel right. Lower Decks worked best by making the everyday goings-on in Starfleet funny. Where it didn’t work were the moments where Mariner’s selfishness and lack of care saw her put her own wants ahead of the crew or Starfleet’s mission.
It’s now officially less than four months until Lower Decks will be back on our screens. Although we’ve already seen a short teaser, I wouldn’t be surprised if there’s a longer trailer as the season approaches. If we do get one, be sure to check back as I’m sure to take a look at it. And beginning in mid-August, I hope you’ll stay tuned for episode reviews as well as discussion of the series.
Star Trek: Lower Decks Season 1 is available to stream now on Paramount+ in the United States and other countries and territories where the service is available. The series is available to stream now on Amazon Prime Video in the United Kingdom and elsewhere. The Star Trek franchise – including Lower Decks and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
A while ago I took a look at some racetracks from past Mario Kart games that I’d love to see return in Mario Kart 9 – whether that game ends up coming to the Nintendo Switch or whether it’s not made until a new console is out. This time I want to look at some characters from other Nintendo games (and a couple of non-Nintendo games) who would be amazing to add to the roster of drivers in Mario Kart 9. There are so many fun characters that have been created over the years, and with Mario Kart 8 Deluxe expanding the list, why not go all-in and add these ones too?
For the purposes of this list I’m assuming that all of the characters from Mario Kart 8 Deluxe will be returning. After all, why wouldn’t they? So I’m not including anyone on my list who was part of the most recent entry in the series! Instead I want to focus on characters who’ve never been playable in Mario Kart.
Mario Kart 64′s Rainbow Road is one of my all-time favourite tracks!
In 1993 or 1994 I first played Super Mario Kart on the SNES. From almost the first moment I was hooked, and had great fun with the cute, silly kart racer. It even prompted me to try go-karting for myself, which was a fun experience! I’ve been fortunate enough to play every Mario Kart game to date – some more than others – on their original hardware, and while it would be unprecedented for Nintendo to launch a second Mario Kart game on the same console, Mario Kart 8 Deluxe is just a port of the Wii U title. Maybe that means Mario Kart 9 is closer than we think!
Next year will be the 30th anniversary of Super Mario Kart’s 1992 release, and thus the 30th anniversary of the entire Mario Kart series. Given Nintendo’s love (bordering on a fetish, really!) of anniversaries and anniversary events, perhaps some kind of celebration is on the cards. Maybe they’re even working on releasing Mario Kart 9 in time for the 30th anniversary!
Nintendo recently launched the (underwhelming) Super Mario 3D All-Stars for Mario’s 35th anniversary. Might a new game be planned for Mario Kart’s 30th?
Who’s your favourite Mario Kart racer? Ever since their first appearance in Mario Kart Wii, mine has been Dry Bones – the skeleton koopa troopa. He’s just so cute! I even have a figure and a plush toy of him somewhere in my collection! But there are many wonderful characters in the various Mario Kart games, and several different versions of some of the big ones. Mario, for example, has a baby version, a metal version, a gold version, and even a tanooki version! While there are some great characters to play with already, I can still think of more!
My usual caveat applies: I have no “insider information.” I don’t know if or when Mario Kart 9 will be released, whether it will come out on the Switch, or which characters may or may not be included. This is simply a wishlist from a fan of the series – nothing more!
With that out of the way, let’s jump into the list!
Number 1: Tom Nook
Animal Crossing: New Horizons is second only to Mario Kart 8 Deluxe on the all-time bestseller list for the Switch, and with the huge popularity of the game, it makes a lot of sense to include more Animal Crossing critters in Mario Kart 9. Isabelle and a generic Villager are already present, but it would be amazing to see Animal Crossing mainstay – and everyone’s tanooki best friend – Tom Nook join the lineup.
As with all Animal Crossing characters, Tom Nook has a unique, cartoonish look that’s perfect for Mario Kart. No changes would be needed to the way he looks, and it would be possible to have several different outfits for him, including seasonal variants and even holiday-themed ones, based on his different outfits in New Horizons.
Number 2: K.K. Slider
Sticking with Animal Crossing, while there are plenty of characters who could join Tom Nook, few are more emblematic of the series than musician K.K. Slider. A regular visitor to players’ islands in New Horizons, the laid-back dog could take a break from jammin’ and join a kart race! I didn’t know this until recently, because I always felt K.K. Slider’s “songs” were a bit of a joke, but he has a real-world following. People actually enjoy listening to his music. Funny old world, eh?
There’s scope to add other Animal Crossing critters too, but most of the remaining mainstays – Timmy and Tommy, Sable and Mabel, etc. – come as part of a set, and it would be hard to include one but not others.
Number 3: Fox McCloud (a.k.a. Star Fox)
Back in the SNES days I adored Star Fox, Nintendo’s animal-themed space shooter! It was one of the first games I picked up for the console, drawn in simply by the box art as I was a huge fan of anything to do with space and sci-fi. Fox has recently appeared alongside Mario in Super Smash Bros. Ultimate, but has never made an appearance in Mario Kart. As a pilot, surely he’d be a good driver!
The Star Fox franchise has felt underappreciated by Nintendo, with no new entry since 2016’s Star Fox Zero. Bringing back the series’ protagonist in a sure-fire hit like Mario Kart 9 could lead to a resurgence in popularity, with perhaps a new Star Fox game in the offing.
Number 4: A Goomba
The Mario Kart games have included many of Mario’s iconic adversaries as playable characters, going all the way back to the inclusion of Bowser and Koopa Troopa in Super Mario Kart. But Goombas have only ever appeared as obstacles on racetracks, never as a playable character. That wrong needs to be righted, and players should be able to finally give Goombas a break!
With so many other iconic Mario villains having had a turn in the spotlight, it would be really sweet to see a Goomba in the driver’s seat for once.
Number 5: Samus Aran
The only Metroid game I’ve ever played was Super Metroid on the SNES – though I did briefly toy with Metroid Prime on a friend’s GameCube. But there’s no denying that Samus, the series’ protagonist, is an iconic Nintendo character in her own right. Samus was actually one of the first female playable characters in all of gaming, with the reveal at the end of the first Metroid game in 1986 being a truly stunning moment for players!
Samus has been a regular fighter alongside Mario in the Super Smash Bros. games, but has yet to appear in Mario Kart. With characters beaming in from other franchises already, perhaps it’s time to fix that!
Number 6: The Animal Friends
This is a total cheat since it’s really a few separate characters, but I love them all so I couldn’t just choose one! Beginning in 1993’s Donkey Kong Country, DK has been able to call on various animals to aid him in his quest. Among my favourites are Expresso the Ostrich, Enguarde the Swordfish, and of course the iconic Rambi the Rhino!
Obviously the Mario Kart series would have a hard time including all of them, but it would be great to see at least a couple of these fan-favourites join the roster of drivers. Plus I think we’d all like to see how a swordfish could possibly drive a go-kart, and I think it’s worth doing for that reason alone!
Number 7: Chunky Kong
Sticking with the Donkey Kong series, DK’s cousin Chunky was introduced in Donkey Kong 64 but has only made minor cameo appearances since. He would obviously be one of the heavyweight drivers, alongside his cousin and the likes of Bowser, and that could be neat. Despite its lesser status among Nintendo titles, I really enjoyed what Donkey Kong 64 brought to the table, and it would be great to welcome back a character who hasn’t been seen since.
Chunky, despite his stature, had a very timid, almost cowardly personality, and that could be incorporated into his persona in Mario Kart 9 as well.
Number 8: A Thwomp
Another iconic Mario villain that has only appeared in Mario Kart as an obstacle, it would be really fun to see one of these sentient boulders get a turn behind the wheel! Thwomps have been part of Mario Kart going back to the SNES, and they make for difficult obstacles, especially for new players.
In recent years we’ve seen Thwomps included in many Mario titles, and they’ve become emblematic of the kind of opponents Mario faces on his adventures, along with Bowser, Koopas, and Goombas.
Number 9: Professor E. Gadd
Later in the year I hope to get back to writing up my playthrough of Luigi’s Mansion 3 – something I aimed to do last Halloween but never finished! Professor E. Gadd is Luigi’s ally in the Luigi’s Mansion games, setting up players with ghost-busting equipment and helping out as Luigi battles spooky spirits.
Despite the popularity of Luigi’s Mansion 3, we’ve only ever seen a couple of minor cameos outside of the main series. Bringing the professor into Mario Kart 9 would finally give him a major role!
Number 10: Hellen Gravely
Sticking with Luigi’s Mansion 3, bringing in the character who I assume is one of the game’s big bosses would be fantastic as well! Hellen Gravely worked with King Boo to kidnap Mario along with Luigi’s other friends at the start of Luigi’s Mansion 3, and she would make for an interesting racer! There aren’t that many female drivers in the Mario Kart series, and someone like Hellen Gravely would be a contrast to the likes of Princess Peach and Rosalina.
Just don’t tell me how Luigi’s Mansion 3 ends… I still need to finish it!
Number 11: Dorrie (a.k.a. the “Swimming Beast”)
Dorrie first appeared in Super Mario 64 as a friendly “Loch Ness Monster” type of critter, and has recently been seen in Super Mario Odyssey as well. Though Dorrie is far larger than the other racers, perhaps they could be scaled down to fit in a standard kart! Ever since Mario 64 I’ve liked the cute, Nessie-inspired design, and bringing Dorrie into Mario Kart 9 could be a ton of fun.
If racers with no hands like King Boo or Wiggler can drive karts, who says Dorrie can’t?
Number 12: Minecraft Steve
I know, I know. Minecraft isn’t strictly a Nintendo game (it’s owned by Microsoft) but it’s one of the most popular titles on the Switch, and retains a huge playerbase even as it approaches its tenth anniversary. Steve – the game’s silent protagonist – has appeared in Super Smash Bros. Ultimate, so clearly Microsoft are happy to collaborate with Nintendo in these cases!
Bringing an “outsider” like Minecraft Steve into Mario Kart 9 would really expand what the game is all about, and if it’s going to be connected to the 30th anniversary, that kind of celebration vibe could be perfect.
Number 13: Among Us Crewmate
Another non-Nintendo character from a hugely popular title, if Mario Kart 9 pushes the boat out and brings in a lot of drivers from different franchises, taking advantage of the current popularity of Among Us could be worthwhile. An Among Us costume is available in Fall Guys – which is itself coming to Switch this summer – so publisher InnerSloth are clearly willing to collaborate!
Among Us has proven itself to have staying power; it wasn’t just a fad that burned out quickly. If Mario Kart 9 is coming up any time in the next couple of years, it stands to reason Among Us will still be around, so a collaboration could make a lot of sense.
Number 14: Mayor Pauline
In the run-up to the launch of the Switch and Super Mario Odyssey, Pauline’s song Jump Up Superstar! was a huge part of Nintendo’s marketing push. Pauline also appears in the game itself as the mayor of New Donk City, one of the worlds Mario traverses. Pauline is based on the original “damsel in distress” seen in 1981’s Donkey Kong.
Pauline has recently been a playable character in Mario Tennis Aces, so clearly Nintendo have her in mind as a character to use in future. Bringing her into Mario Kart 9 just feels like a natural fit!
Number 15: Cappy
Speaking of Super Mario Odyssey, how could we possibly exclude Cappy? Mario’s ally – and hat – in Odyssey is a perfect character to include in Mario Kart 9! Most Mario Kart titles have drawn on the latest Super Mario games for inspiration, and including Cappy feels like an absolute no-brainer.
Cappy was a new character created for Odyssey, and thus hasn’t had an opportunity to make any major appearances outside of that game… at least, not yet!
So that’s it. Fifteen characters I’d love to see included in Mario Kart 9.
Mario Kart 7 was a huge hit on the Nintendo 3DS.
Even with the 30th anniversary coming up next year, Mario Kart 9 could still be a long way off – we simply don’t know at this stage what Nintendo’s plans are for the next few years. There have been rumours of a wholly new console, despite the Switch being barely four years old at this point, and while I think that would be a mistake, it’s possible Nintendo plans to go down that route.
The Switch has been Nintendo’s roaring comeback after the failure of the Wii U, and that’s been great to see. Even though their paid online model is pretty crappy, and cut off a previously-free online mode for Mario Kart 8 Deluxe, the Switch overall has been a resounding success. Mario Kart 9 would just be the icing on the cake.
The Mario Kart series – including all games mentioned above, as well as all individual racetracks, characters, and other properties – is the copyright of Nintendo. Some screenshots courtesy of the Super Mario Wiki. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
In 2011 I found myself in London working with a client. It just so happened that, during the month I was in the capital, the wedding of Prince William was set to take place. Royal events like weddings and funerals are broadcast live in the UK and around the world, and doing so is an incredible logistical feat that takes a huge amount of planning. In this current coronavirus moment, with restrictions and limitations in place, the upcoming funeral of Prince Philip, Duke of Edinburgh will be quite different to the royal event I – in a very minor way – attended a decade ago.
Although my health was in decline by 2011, at that point I was still working full-time and was still able to travel in relative comfort, so when a client I’d worked with for several years asked me to spend some time in their office with their marketing team I happily agreed and travelled to London. All expenses paid, I thought, so why not? I stayed in a small room in a shared apartment in King’s Cross, from where my client’s office was a short commute. It was, for someone who grew up in a small rural community, a change of scene! Though I’d lived in cities before, I never really got used to the dense crowds of places like London – but if I thought my commute or my lunch break were busy, that was nothing compared to the royal wedding!
Crowds at the wedding of Prince William and Kate Middleton in 2011.
After several years of dating, Prince William and Kate Middleton – now Kate, Duchess of Cambridge – announced their engagement in November 2010, and planning for the wedding kicked into high gear not only for the royal family, but for media companies as well. Though Prince Charles’ second wedding to Camilla, Duchess of Cornwall in 2005 had attracted a modest television audience of around 7 million in the UK, his first wedding to Diana, Princess of Wales in 1981 picked up an audience of over 28 million in the UK – and some 750 million worldwide. Broadcasters certainly expected William and Kate to manage something similar!
A huge event was planned, and the royal family were accommodating of the media, despite decades of mistrust between them, setting up cameras and microphones to capture every single moment of the day. Screens were set up in public parks in London – where I watched the ceremony – and all around the UK, and people lined the routes waving flags and joining in. After sitting to watch the wedding in Green Park – a stone’s throw from Buckingham Palace – I found myself on the Mall in time for the newlyweds’ appearance on the palace balcony, as well as to see a flyover by the Royal Air Force.
My view of Buckingham Palace from the Mall in 2011.
There were an estimated one million people on the Mall along with me, and scenes of the event were broadcast to an audience of some 30+ million in the UK, and well over 160 million worldwide. It’s always been a source of interest to be able to tell people that “I was there” – even though I’m no royalist and wouldn’t have attended on purpose, it’s certainly something interesting to have participated in while I was able. An event.
Royal funerals, too, tend to draw significant audiences, and in light of the death of Prince Philip, Duke of Edinburgh last week, it’s these events we should really be looking to for points of comparison.
The funerals of both the Queen Mother in 2002 and Princess Diana in 1997 are the largest royal funerals of note in the last few years, and the best comparisons to what we could expect to see on Saturday. The Queen Mother’s 2002 funeral picked up an audience of over 10 million in the UK – but this is barely a third of the 32 million who tuned in to see the funeral of Princess Diana.
The funeral of Diana, Princess of Wales was a massive television event in 1997.
Royal weddings, like the one mentioned above, are meticulously planned months ahead of time, with every detail ironed out. With eight days between the announcement of Prince Philip’s death and the funeral, you’d think that putting together an event like this, with plans to televise it worldwide, would be impossible. But that’s far from the truth.
The reality is that the royal family and broadcasters have been working on funeral plans for Prince Philip and other senior royals for decades. Prince Philip himself is said to have worked on his own funeral arrangements, crafting an event that would cause, in his words, “minimal fuss,” and even designing his own Land Rover-based hearse! Perhaps he would have appreciated the scaled-back nature of this event, caused by the pandemic, which means a maximum of thirty people can be in attendance!
A lot has changed since even the wedding of William and Kate ten years ago in terms of the way audiences consume media, and I will be genuinely interested to see whether the viewing figures for Prince Philip’s funeral come close to matching other comparable royal events. The move away from broadcast television to on-demand streaming has changed the way many people, especially younger people, interact with what they watch.
In a growing number of cases, people are opting not to watch any broadcast television, replacing it with subscriptions to streaming platforms, and even eschewing the traditional television set in favour of smaller, portable screens like phones and tablets. While that wouldn’t be my preference for how to watch, well, anything, I can’t deny that it’s a trend that doesn’t seem to be slowing down. How many of these people will step away from Netflix, YouTube, or Paramount+ to tune into a royal funeral, I wonder, and how many will simply opt to watch highlights later?
How many people will watch the funeral live, and how many will simply stream the highlights afterwards?
Royal events have been huge draws for television audiences going back to at least the coronation of Elizabeth II in 1953. My father can vividly remember crowding around a brand-new television to watch the queen’s coronation, and while in 2021 we shouldn’t be crowding around anything, there is still power in royalty for television broadcasters. One need only look to the success of Netflix’s The Crown as evidence.
So it will be a point of interest to learn how many viewers turn up for Prince Philip on Saturday. Broadcasters will have had a number of plans in place for different events, different crowd sizes, and even different weather conditions. April weather in the UK can be unpredictable – in the last couple of days it snowed, coming after several days of unseasonably warm weather! So you never know what you might be up against, something broadcasters will have to work around.
The Crown on Netflix shows how big of a draw anything involving the royal family can be.
In 2011, to get back to my own experience, while exploring the Mall in the days before the wedding, and on the day itself, I came upon a temporary structure that had been built opposite Buckingham Palace especially to house a number of different domestic and international broadcasters. It was an odd shade of green and appeared to have been built largely from wood and scaffolding! Regardless, it did its job and quite a few broadcasters – including big ones like the BBC – appear to have made use of it.
Whether such a structure will be able to be built in time for the funeral is not clear, nor are whether restrictions in place because of coronavirus would even allow for so many people to work in such close proximity. The pandemic has disrupted so many events and plans, and Prince Philip’s funeral is no exception.
The temporary media structure in 2011.
It’s a huge logistical effort to televise an event of this nature, and given the pandemic and associated restrictions, it will be a herculean task to get everything ready in time so that the funeral and its broadcast go smoothly. But plans have been in place for a long time – just as there are plans for other big funerals and events – so all the broadcasters have to do at this point is put them into place efficiently.
On a personal note, as someone who grew up in the UK with family members who were generally pro-monarchy, the passing of Prince Philip is a noteworthy event. We shouldn’t taint that nor sidestep it with criticisms of the man or the institution; there will be time in future to discuss both monarchy as a concept and the present royal family, but now is not the right moment. Suffice to say it will be a significant event for the country, despite the unusual backdrop of pandemic-related restrictions. And I daresay I will tune in on Saturday to watch at least part of the service.
The funeral of Prince Philip, Duke of Edinburgh (1921-2021) is due to take place on Saturday, the 17th of April 2021. The event will be televised in the UK and around the world. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-3 and the teaser for Season 4. There are further spoilers for the following: Star Trek: The Original Series, Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Enterprise, Star Trek: Lower Decks, and Star Trek: Picard.
Now that we’ve seen the first teaser for Star Trek: Discovery’s upcoming fourth season, and learned that a release later this year is on the cards, I thought it could be a bit of fun to consider some of the factions from past iterations of Star Trek that may – or may not – still be around in the 32nd Century! We know that at least part of the story of Season 4 will look at some kind of gravitational anomaly, and if you want to check out a few of my theories on that you can do so by clicking or tapping here. Even if the gravitational anomaly is the overarching season-long story, Discovery is likely to still find at least some opportunities to step away and spend a bit more time exploring the 32nd Century.
Season 3 was our first introduction to this time period in all of Star Trek, and as such we as the audience were learning about the state of the galaxy as Burnham, Saru, and the rest of the crew had their adventures. We met a couple of major factions outside of the rump Federation, but many familiar factions and races from past iterations of Star Trek were entirely absent – including some that might prove interesting from a story perspective. So in this article I’m going to take a look at a few of my favourites and speculate about where they might be in the 32nd Century.
The USS Discovery in the Season 4 teaser.
With Burnham and the crew having originated in the 23rd Century, they’ve missed most of what happened in past iterations of Star Trek! Major events like the V’Ger cloud’s arrival at Earth, two Borg incursions, and the Dominion War will all be unfamiliar to them, and there’s storytelling potential in re-introducing a faction from Star Trek’s past to a character or group of characters who are entirely unaware of their existence. Such a story could be interesting and fun, as well as providing new Trekkies – those who haven’t seen much of “classic” Trek – with an easy introduction to an older faction.
My usual caveat applies: I have no “insider information.” I’m not suggesting that any of these factions will definitely show up, or even be mentioned, in Discovery Season 4. This is simply a chance to have a bit of fun and speculate about the future of some of the factions we’re familiar with from past iterations of Star Trek by imagining where they could be by the 32nd Century.
With that out of the way, let’s jump into the list!
Number 1: The Bajorans
Kai Winn, the Bajoran spiritual leader in the 2370s.
We’re going in alphabetical order, so the Bajorans are up first! Even though they weren’t a Federation member, a number of Bajorans were known to have served in Starfleet in the mid-late 24th Century, including Ro Laren, Sito Jaxa, and Lieutenant Shaxs. The Bajorans were in the process of applying to join the Federation when the Dominion War broke out; it has long been assumed by many fans that they would ultimately be successful, perhaps even becoming a fully-fledged member by the time of Picard Season 1.
Bajorans were familiar to the Federation in the 31st Century at least, because Dr Issa programmed a Bajoran physical appearance into the holoprogramme she made for her son, Su’Kal, aboard their crashed ship in the Verubin Nebula. It seems very likely that the Bajorans were a Federation member in the years before the Burn – whether they remained in touch with the rump Federation afterwards is unknown, but if they did they may very well be welcomed back into the fold following the discovery of a huge dilithium cache.
It’s also worth pointing out that Bajor is at a very strategic location – the Bajoran wormhole connects the Alpha and Gamma Quadrants. Whether that will matter quite so much with the advent of new, faster methods of travel is unclear, but Bajor could very well still be an important location.
Number 2: The Borg Collective
A Borg Cube seen in The Best of Both Worlds.
Since their official first contact with the Federation – which came in either the 2350s or 2360s depending on how we consider such things – the Borg have attempted to invade Earth twice. Though a time-travelling Admiral Janeway did some damage to the Collective in the late 2370s, I never felt convinced that the events of Endgame would have led to the complete destruction of the Borg.
With the Federation – or at least humanity – firmly in their sights, would the Borg have simply given up? It stands to reason that they made subsequent attempts to attack the Federation, taking advantage of their superior technology and greater numbers. However, the existence of the Federation in the 32nd Century means that any such attempts were met with failure! Perhaps the Collective is no longer around, having been decisively defeated.
The Burn would have presented an ideal opportunity for a faction like the Borg to attack the shattered Federation – yet they don’t appear to have done so. Could that mean that they have already been defeated, or could they be waiting just beyond Federation sensor range for Burnham and Discovery? Maybe the Spore Drive is something they want to acquire – and they could even be responsible for the gravitational anomaly seen in the Season 4 teaser!
Number 3: The Breen
Thot Gor, a Breen commander.
The Breen were initially thought up as an unseen faction, able to be referenced without ever making an on-screen appearance. That changed toward the end of Deep Space Nine, when they joined the Cardassian-Dominion alliance and came close to turning the tide against the Federation in the Dominion War.
Following the war’s end, we know nothing of the Breen. The peace treaty that they signed after their final defeat over Cardassia may have seen a loss of territory for them, or it may simply have seen them retreat to their own borders. Regardless, the Breen were a major power in the Alpha Quadrant in the mid-late 24th Century, with technology capable of matching and even outpacing the Federation. Their defeat in the Dominion War was a setback, but with their homeworld untouched by the conflict it stands to reason they were able to recover quickly.
Would they have pursued peace with the Federation in the decades and centuries after? Would their technology have continued to keep up? Did the expanding Federation come into conflict with the Breen again? Any and all of these things are possible, but as we didn’t see or hear of the Breen in Season 3, perhaps we will never know.
Number 4: The Cardassian Union
Gul Evek and his aide – two of the first Cardassians ever seen in Star Trek.
Discovery’s first Season 3 trailer tricked us last year! By showing off a Cardassian among a group of what we now know to be Emerald Chain guards, a lot of Trekkies wondered what sort of role the Cardassians might play. The answer, of course, was “none at all!” However, there was a second Cardassian seen in Season 3 – a blink-and-you’ll-miss-it appearance in the episode Scavengers. This is arguably the most interesting post-Deep Space Nine Cardassian appearance to date, as the individual in question was a senior Starfleet officer, perhaps even a captain.
As noted above with the Bajorans, non-Federation members were eligible to join Starfleet under certain circumstances, and the post-Burn Federation was hardly in a position to turn away qualified candidates! But the existence of a Cardassian in what seems to be such a senior capacity suggests that they may have been a Federation member in the years before the Burn.
In a way, despite what happened during Dominion War, this makes a lot of sense. The Federation were in a position to offer help to the Cardassians as they rebuilt following the Dominion occupation of their world, and perhaps that help turned into an alliance over time, culminating in their joining the Federation.
Number 5: The Coppelius synths
A group of Coppelius synths seen in Star Trek: Picard Season 1.
The (relatively) short lifespan of humans and other organics means that, barring time travel shenanigans or being put in stasis, no one we met in the 23rd or 24th Centuries could reasonably have survived to the 32nd Century. However, synths don’t have such limitations, and as such it’s possible that some or all of the Coppelius synths from Picard Season 1 are still alive in this era.
What happened to them after the events of Picard Season 1 is not clear, and it may be something that Discovery’s sister show plans to revisit. If that’s the case we may not see anything of the synths in Season 4. However, if Picard Season 2 is going in a different direction – as its teaser indicated it might – there could be scope to pick up the synths’ story in Discovery.
The Coppelius synths were under Federation protection by the end of Picard Season 1. But with the Romulans hell-bent on exterminating them, they still appeared to be in danger. It would be very depressing to learn that a subsequent Romulan attack wiped them out, especially after Picard and Soji worked so hard to help them. So I hope that the synths are still around – even if they had to relocate to a new homeworld. They could have joined the Federation by this time, too.
Number 6: The Denobulans
Dr Phlox, a 22nd Century Denobulan.
The Denobulans have thus far only appeared in Star Trek: Enterprise, where main character Dr Phlox was a member of the species. Though friendly toward humanity by the mid-22nd Century, the Denobulans were not strictly “allies,” nor were they a founding member of the Federation – which consisted of Andorians, humans, Tellarites, and Vulcans in its original incarnation.
However, the Denobulan homeworld must have been in relatively close proximity to Earth and Vulcan, and with the Federation coalescing and growing it seems at least plausible that they joined up at some point, especially given their friendly history. If Federation HQ relocates back to Earth in Season 4, perhaps we’ll see more of the Denobulans, who might still be in the vicinity.
Number 7: The Dominion
A Jem’Hadar ship.
The Dominion were the dominant power in at least part of the Gamma Quadrant, and according to their own history, had been so for over two millennia as of the mid-24th Century. After a years-long cold war between the Dominion and Federation following first contact, armed conflict broke out in the 2370s. The Dominion War was arguably the most significant event of the latter part of the 24th Century from the Federation’s point of view, proving far more devastating than incursions by the Borg or earlier wars with the Klingons and Romulans.
Following their failed attempt to invade the Alpha Quadrant, the Dominion agreed to return to their own space beyond the Bajoran wormhole. Odo, a Founder who had lived among Bajorans and humans for decades, reunited with his people, hoping to communicate to them that the Federation would not try to wipe them out nor conquer them. If Odo was successful, this could have set the Dominion on the path to peace.
We simply don’t know what became of the Dominion. The Guardian of Forever was seen in Discovery Season 3, and had relocated to a planet near the Gamma Quadrant. Admiral Vance didn’t mention the Dominion when Burnham and Saru planned to travel there, so perhaps we can infer from that that the two powers are at peace. However, the Burn may have disrupted that peace, especially if it resulted in serious damage to the Dominion – might they hold the Federation responsible for that disaster?
Number 8: The Ferengi Alliance
Rom became Grand Nagus of the Ferengi Alliance in 2375.
The Ferengi initially appeared to be antagonistic toward the Federation following (official) first contact in the mid-24th Century, but they soon revealed their true nature: hardcore capitalists for whom war was simply not worth participating in as it was usually unprofitable. Ferengi society was strictly segregated, with men participating in business while women were expected to remain at home and raise their families.
There were seeds of change in the 2370s, with women’s rights issues coming to the fore in Ferengi society. There were also moves away from unregulated capitalism, with some Ferengi even forming unions and advocating for more rights and welfare. Though such changes surely led to pushback from conservative Ferengi, the appointment of Rom as Grand Nagus may have cemented at least some of these reforms.
Though hardly allies of the Federation, at least one Ferengi – Nog – would serve in Starfleet in this era, bringing a different perspective to the organisation and perhaps bringing the factions closer together. The existence of a USS Nog in the 32nd Century – while intended to be a tribute to actor Aron Eisenberg – could also be seen as an indication of continued warm relations in this time period.
Number 9: The Gorn
A 23rd Century Gorn captain.
The Gorn were neighbours of the Federation by the 23rd Century, and may have been involved in border disputes and skirmishes. There was no indication that they ever joined or even considered joining the Federation, and appeared to maintain a closed-border policy well into the 24th Century.
In the Lower Decks episode Veritas, Ensign Rutherford’s arrival at a Gorn wedding led to him coming under immediate attack by the Gorn who were present, and while this was (of course) part of an extended joke, it certainly suggests that the Gorn were not in any way friendly toward the Federation by the 2380s.
In That Hope Is You, the Discovery Season 3 premiere, Book told Michael Burnham that the Gorn had “destroyed subspace” somewhere in the vicinity of Hima. Perhaps that indicates that they were not allied to the Emerald Chain, nor the Federation – retaining their status as an independent power.
Number 10: Holograms
Index, a hologram seen in Star Trek: Picard.
We saw a number of holograms in Discovery’s third season, confirming that the technology is still in use in the 32nd Century. At least one of these holograms appeared to be intelligent, perhaps even sentient, but that was never confirmed.
In the late 24th Century, the Doctor – the USS Voyager’s Chief Medical Officer – was involved in a court case regarding his ownership over a work of fiction he had created. The court case was resolved in his favour in the episode Author, Author, and Captain Janeway suggested that he might have “struck the first blow for the rights of holograms.” There were other sentient holograms in the 24th Century as well, including a holographic version of Sherlock Holmes’ nemesis Professor Moriarty. What became of them is unclear!
As with the Coppelius synths, there’s no reason why holograms from the 24th Century couldn’t have survived this long, and one of my most popular theories here on the website has been that Voyager’s Doctor – or rather, a backup copy of him – will make an appearance in Discovery.
Number 11: The Iconians
An Iconian Gateway – one of the few surviving relics of their civilisation by the 24th Century.
Iconian civilisation flourished more than 200,000 years ago, and by the 24th Century they were believed to be extinct. However, their powerful technology utilised “gateways” to travel vast distances, and it was implied by the extent of the archaeological evidence that they maintained outposts or colonies on many other planets.
The destruction of their homeworld by an alliance of their enemies may have rendered the majority of Iconians extinct, but such a widespread civilisation could have avoided total annihilation, perhaps. The reason the Iconians are on this list is because of their popularity in non-canon works, particularly the video game Star Trek Online. Some elements from non-canon Star Trek publications have ended up crossing over to the main series, so perhaps the intervening centuries saw some kind of re-emergence of the Iconians.
Number 12: The various Kazon sects
Maje Culluh, a Kazon leader in the 2370s.
Discovery Season 3 didn’t establish whether the Federation were able to travel to the Delta Quadrant, nor if they had ever revisited the region since the USS Voyager’s transit in the late 24th Century. Given that warp drive was still the main way of travel, and that maximum warp speeds (as understood in a 24th Century context) meant that the Delta Quadrant would take decades to reach, perhaps they never did.
So we may not find out what became of the Kazon! Similar in some ways to a less technological, less organised Klingons, the Kazon were major antagonists across the first couple of seasons of Voyager. We know that the Borg considered them “unworthy” of assimilation – the only species we know of that the Borg couldn’t be bothered with!
It seems unlikely that the Kazon will have had much impact on the Federation given their distance. However, if they ever succeeded in unifying their disparate sects, perhaps they could have become a regional power in the Delta Quadrant. The USS Discovery’s Spore Drive could take the ship anywhere – even 70,000 light-years away. So maybe if they’re able to travel there, we’ll find out!
Number 13: The Kelvan Empire
Rojan, a 23rd Century Kelvan leader.
The Kelvans are an interesting – and potentially alarming – faction. Extragalactic aliens from the Andromeda galaxy, their technology was far superior to the 23rd Century Federation, and arguably to anything the Federation subsequently developed! They only appeared once, in The Original Series Season 2 episode By Any Other Name, but that shouldn’t stop them making a comeback.
The Kelvan Empire’s home galaxy was facing an extinction event due to rising radiation levels, and they sent out scouting parties to look for new homes. One of these parties encountered the USS Enterprise upon arriving in the Milky Way. Though initially interested in conquest, Kirk was able to convince the Kelvans to consider an alternative proposal, allowing the Federation to help them find new worlds to settle.
If the Federation’s proposal was accepted, perhaps there are millions of Kelvans living somewhere in the Milky Way in this era. Or if it was rejected… perhaps the Kelvan Empire is about to descend upon the Federation en masse!
Number 14: The Klingon Empire
Klingon Chancellor L’Rell.
The Klingons, despite having made so many appearances in Star Trek already, are perhaps the most interesting faction to see return in Discovery. Burnham and the crew are veterans of the Federation-Klingon war, and while I wouldn’t say any of them “hate” Klingons, they certainly would be distrustful of them. How would they react to learning that the Klingons had been allies with the Federation – or even Federation members – for centuries?
I think there’s a lot of potential for conflict, drama, and for Star Trek to do what it’s always done best: use its sci-fi setting to examine real-world issues, in this case, the way we can be guilty of judging groups of people. Characters like Culber, who was “murdered” by Voq, or Stamets, who had to deal with the fallout from that loss, could be front-and-centre in such a story, and it would be absolutely fascinating to see it unfold.
Rather than Discovery making the Klingons antagonists again, like in Season 1, it would be great to learn that the alliance of the 24th Century continued, and that if the Klingons remain an independent power – which they may well be – they’re at least on friendly terms with the Federation.
Number 15: The Maquis
Chakotay, a Maquis commander.
Although Maquis forces were said to have been almost entirely wiped out by the Cardassian-Dominion alliance during the early stages of the Dominion War, at least some Maquis were known to have survived the initial attack. In addition, the USS Voyager returned to the Alpha Quadrant with a contingent of 40-ish Maquis, including Chakotay and B’Elanna Torres.
It’s at least possible that the Maquis, who were breakaway colonists attempting to secede from the Federation, recreated their society in the aftermath of the Dominion War. While their soldiers may have been killed, we saw no confirmation of the fate of other Maquis colonists. If they survived the war, even in captivity, perhaps they attempted to continue their quest for independence afterwards.
If so, the Maquis colonies may have been independent of the Federation for centuries by the 32nd Century. What kind of society they might’ve developed in that time is not known.
Number 16: The Q Continuum
Q, a member of the Q Continuum.
The Q Continuum are returning in Season 2 of Picard – or at least, their most well-known member is. Perhaps that means we won’t see or hear anything about them in Discovery, nor learn what became of them in the far future. But it’s possible!
The Q are as close to immortal as any faction we’ve seen in Star Trek, so they should certainly still be in existence by this time. Their incredible powers are, as a famous quotation puts it, “indistinguishable from magic,” and Q suggested that the Continuum has existed for at least as long as the universe itself.
The Q seemed to view humanity and the Federation with curiosity rather than animosity, with Q even trying to help Captain Picard to solve puzzles that required different ways of thinking. If this kind of intervention continued, and humans continued to develop their reasoning skills, perhaps they might be on friendly terms with the Q by this time. However, if the Q are able to create matter, they would have been very useful friends to have as the Federation began to run out of dilithium! Perhaps the Q have instead stepped back from actively intervening in Federation affairs, content to watch from the outside.
Number 17: The Romulan Star Empire
Romulans, Vulcans, and Romulo-Vulcans in Season 3.
The existence of Romulans on Ni’Var – the planet formerly known as Vulcan – suggests that the Romulan Empire has disbanded following reunification. It was certainly implied heavily in the episode Unification III that reunification involved all Romulans and Vulcans. But it’s possible that a breakaway faction exists in some form; a “New Romulan Empire” claiming the mantle of the disbanded one.
We’ve already seen what was perhaps the biggest possible reveal for Burnham and the crew – learning that the Romulans are an offshoot of the Vulcans. However, with Ni’Var seemingly on the verge of rejoining the Federation, perhaps there is scope to see more from them. The Romulans remained a distinct group on Ni’Var, with full integration with the Vulcans having not occurred, and there are clearly internal tensions between the three main groups. This could be a story thread that Season 4 picks up.
Number 18: The super-synths
The super-synths almost arrived in the Milky Way… but their portal was closed at the last second.
We know practically nothing about this faction, despite them playing a major role in the conclusion to the story of Picard Season 1. They don’t even have a proper name! Claiming to be “an alliance of synthetic life” existing beyond the Milky Way, this faction offered to come to the aid of any synthetics who needed them. It was not clear if this offer was genuine or part of an elaborate trap.
I suggested in the run-up to Season 3 that the super-synths could have been involved with the Burn, but that turned out not to be the case. However, if they became aware of the Federation following the events of Picard Season 1, they could still be planning to travel to the Milky Way – perhaps with conquest on their minds.
The super-synths could thus be responsible for Season 4’s gravitational anomaly – perhaps it’s a weapon; an artillery barrage to soften up the Federation before the troops arrive! It would be fantastic for the creative team in charge of Star Trek to find a major way to tie Picard and Discovery together. Whether this is the right way to do it is certainly up for debate, but in principle I like it.
Number 19: The Talaxians
Neelix, a Talaxian chef.
Although the Talaxians are native to the Delta Quadrant, there was at least one Talaxian colony in or near the Beta Quadrant, significantly closer to Federation space. This seems to increase the likelihood that the Federation would have been able to remain in contact with them at least in the late 24th Century.
The Talaxian homeworld had been conquered sometime in the mid-24th Century by the Haakonian Order. Perhaps the Federation, if they remained on friendly terms with the Talaxians, would have wanted to aid them in liberating their homeworld. If the Federation developed the ability to travel to and from the Delta Quadrant at some point in the future, perhaps the Talaxians even joined the Federation!
Number 20: The Talosians
Talosians in Season 2 of Discovery.
The Talosians were a very dangerous people whose telepathic powers were able to trick humans, Vulcans, and other known races into seeing things that weren’t there. As a result of their attempt to kidnap Captain Pike and other Enterprise officers, Talos IV was declared off-limits to Starfleet personnel and the Federation.
The events of The Menagerie, in which the Talosians welcomed Captain Pike back to their world, as well as their general helpfulness toward Spock and Michael Burnham in Discovery Season 2, however, may suggest that General Order 7 – the section of Starfleet’s rules banning travel to Talos IV – may have been reassessed, although no in-universe evidence for that exists.
The surviving Talosians lived underground after their planet was devastated by war, and lost their ability to control their technology, focusing instead on refining their mental powers. In the 23rd Century, Talosian leaders believed their race was doomed to extinction – but maybe the Federation found a way to aid them? If not, perhaps Talos IV is uninhabited by this time period.
Number 21: The Tholians
A 23rd Century Tholian commander.
The Tholians have only made a couple of appearances in Star Trek – once in The Original Series and once in Enterprise. However, they’ve been mentioned on a number of occasions, and despite being antagonistic in the 23rd Century, some kind of diplomatic relations clearly existed a hundred years later.
As one of the few non-humanoid sentient species, it would be really interesting to see the Tholians make a return. An area of space that they claimed as their own seemed to have some kind of gateway to the Mirror Universe – if Discovery were to revisit that setting, perhaps the Tholians could be included.
As to where they might be or what they might be doing by the 32nd Century, that isn’t clear. In the aftermath of the Burn, they could have expanded to conquer border worlds, or they might’ve been a peaceful neighbour or even ally of the Federation in this era.
Number 22: The Vidiians
A trio of Vidiians form a boarding party in the 24th Century.
Another Delta Quadrant faction whose reappearance will depend on the Federation’s ability to travel, the Vidiians were an antagonist during the USS Voyager’s journey – but only because a disease known as the Phage was afflicting their society.
In the episode Think Tank, a group of “problem-solving” aliens claimed to have cured the Phage, and if this was true – that was left rather ambiguous due to the way the story progressed – perhaps the Vidiians would have been more peaceful and willing to establish a dialogue with the Federation, especially if they were visiting the Delta Quadrant regularly. Or, due to their relative proximity to the Borg, the Vidiians may have been assimilated!
That may seem like a harsh fate, but in the Picard Season 1 episode The Impossible Box the Borg were revealed to have assimilated at least some members of the Sikarian species, making use of their spatial trajector technology. The Sikarians were present in the same region of space as the Vidiians, so perhaps the expansion of the Borg in the late 24th Century was a problem for them.
Number 23: The Xindi
A Xindi-Aquatic in the 22nd Century.
I recently took a look at the possibility of the Xindi returning – along with fellow Enterprise antagonists the Suliban. Neither faction has been seen since Enterprise went off the air, and their absence suggests that, at least in the 23rd and 24th Centuries, they may have pursued a policy of isolationism.
The Xindi had joined the Federation, however, by the 26th Century, with at least one Xindi serving aboard the Enterprise-J. Whether they remained members in the years after the Burn is not known, and with 90% of Federation members either leaving or being out of contact it seems likely that they would have had to fend for themselves for a while.
So that’s it. A few factions from Star Trek’s past that may be around – in some form – in the 32nd Century!
Captain Burnham in the Season 4 teaser.
This was a long list, so credit to you for making it to the end. Truthfully I can think of at least half a dozen more factions that could have made it, but it was already getting far too long! We don’t know at this stage where Discovery Season 4 is going to go, and thus which factions may or may not be included.
What I would say, though, is that Season 3 had some pleasant surprises, bringing back elements from Star Trek’s past that I genuinely would not have expected. With that in mind, I think there’s potential for any of the factions above to play a role – minor or major – in the upcoming season.
If Discovery Season 4 remains on course, we’ll see it before the end of the year. With Lower Decks Season 2 scheduled to arrive in mid-August and run for ten weeks, we might even see Discovery before Halloween, just like we did in 2020. Time will tell, but I hope you’ll stay tuned for more Discovery news and, when the season is ready, reviews of every episode… and perhaps a bit of theory-crafting!
Star Trek: Discovery Season 4 is scheduled to premiere on Paramount+ in the United States (and other territories where the service is available) before the end of 2021. The series will arrive on Netflix in the United Kingdom and elsewhere. The Star Trek franchise – including Discovery and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for the entire Star Trek franchise, including the most recent seasons of Discovery and Picard, as well as recently-revealed teasers for upcoming seasons and projects.
The announcement a couple of days ago that a brand-new Star Trek film is in the works was incredibly exciting! There hasn’t been a feature film in the franchise since 2016’s Star Trek Beyond, the third film in the Kelvin (or JJverse) series. Since The Motion Picture made its debut in 1979, the Star Trek franchise has been reasonably consistent in its cinematic output, with the longest gap between films to date coming between Nemesis’ release in 2002 and JJ Abrams’ 2009 Star Trek reboot. Aside from that seven-year gap, we’ve seen Star Trek films every three or four years on average, and there have been thirteen films released since 1979.
I’ve always considered Star Trek to primarily be a television franchise, and its return to the small screen in 2017 felt like a proper homecoming. As interesting as the Kelvin timeline films were, I was far happier to see Star Trek back on television. That’s not because the Kelvin films – or any other Star Trek films – were bad, it’s just that the television format seems to work particularly well and lend itself to the kinds of stories Star Trek does best.
Star Trek will soon be back in cinemas!
As I said when I wrote up a short piece about the film’s announcement, no information was provided by Paramount Pictures or ViacomCBS about the film other than its June 2023 release date. So it would be foolish to speculate, wouldn’t it?
Foolish, perhaps, but also a lot of fun! So this time we’re going to take a look at a handful of possible settings, scenarios, and ideas for Star Trek 2023 and what it might be all about. My usual caveat applies: I don’t have any “insider information,” nor am I suggesting any of these film ideas will turn out to be correct. This is pure guesswork and speculation on my part. That’s all.
With that out of the way, let’s jump into the list!
Number 1: A direct sequel to Star Trek Beyond.
The redesigned USS Enterprise in 2009’s Star Trek.
Attempts have been underway since before the release of Star Trek Beyond to get a fourth Kelvin timeline film off the ground. At one point, rumours swirled of a script that would have brought back Kirk’s father George – who had been played by Thor actor Chris Hemsworth in the opening scenes of 2009’s Star Trek. Pre-production on that project appeared to make headway, but – again, according to widely-reported rumours – the salaries of some of the principal cast members, including Kirk actor Chris Pine, were said to have derailed the project.
Beyond ended with a strong tease at a potential sequel. Kirk and his crew gazed out over the new USS Enterprise-A as construction on the vessel was completed, and there was a sense that the film was setting up a new story. After more than five years it hasn’t happened, and as I said when I considered the pros and cons of a return to the Kelvin timeline, Star Trek’s return to the Prime Universe and the expansion of the franchise to new shows and projects means that, at least in my opinion, the Kelvin timeline doesn’t really feel like a good fit right now.
The Kelvin crew in Star Trek Beyond.
In many ways, it would make more sense for any new feature film to at least have some connection or tie to the shows currently being produced, even if it isn’t a direct spin-off from any of them. The Kelvin timeline was a way to reboot Star Trek in 2009 after three decades of near-continuous production had burnt it out in the minds of many viewers. That doesn’t feel necessary right now. And going back to the Kelvin timeline after years in the Prime Universe risks overcomplicating things for a more casual audience.
So there are mixed feelings on this one! On the one hand, the story of the Kelvin timeline abruptly ends after Beyond, despite teases of a sequel. And the Kelvin timeline films were incredibly successful, bringing in huge audiences and plenty of money! But on the other hand, the reinvigorated Star Trek franchise has gone in a different direction since 2017, and I don’t see where a Beyond sequel fits any more.
Number 2: Captain Worf.
Worf in First Contact.
Michael Dorn, who played Worf in The Next Generation, Deep Space Nine, and four Star Trek films, has often talked about his desire to reprise the role. Since at least the early 2010s, Dorn has talked at every opportunity about his pitch to Paramount and ViacomCBS for a “Captain Worf” series, miniseries, or film. Perhaps, after years of pestering them, he finally got his wish?
At this stage we can’t rule it out! Knowing so little about the upcoming project means, in theory, that practically any Star Trek pitch that we know about could be in contention. Maybe the “Captain Worf” concept was one that the company liked, and a feature film was considered the best possible option for it. One advantage to it, at least in theory, would be that Michael Dorn is well-versed in both Star Trek and the project’s central character, meaning it would be less challenging to get started with when compared to a wholly new concept. Given that the film has just over two years to go from announcement to release, that could be a significant help!
Worf in Season 1 of The Next Generation.
However, I’ve never been sold on the “Captain Worf” idea, personally speaking. Worf is a fun character, but I see two distinct disadvantages if he were to be the central focus of a new story. Firstly, Worf is the character we’ve spent the most time with in all of Star Trek to date – he appeared in 270 episodes and four films across fifteen years. We’ve seen most aspects of his life unfold on screen already, including his role as a father, husband, friend, and Starfleet officer. Do we really need more Worf?
And secondly, Worf is a great secondary character, but the “Captain Worf” concept would put him centre-stage. That’s great for Michael Dorn, of course, but I’m not sure Worf is the most nuanced or interesting character to spend so much time with. Both Worf and Voyager’s B’Elanna Torres have explored the “Starfleet-versus-Klingon” concept on many occasions, which is perhaps Worf’s biggest point of internal conflict and the best reason to do a project like this. It could be interesting, and a chance to return to the 24th or early 25th Century would be great. But I’m not sold on this being the right way to do it.
Number 3: Ceti Alpha V.
My Ceti Alpha V mock-up.
A few weeks ago I looked at a pitch by The Wrath of Khan and The Undiscovered Country director Nicholas Meyer for a miniseries tentatively titled Star Trek: Ceti Alpha V. That project was planned as a three-part miniseries, but it could have been adapted into a feature film, I suppose!
This concept would focus on iconic villain Khan in the years between his exile by Kirk in Space Seed and his return in The Wrath of Khan. He and his followers were marooned on the titular planet Ceti Alpha V, and had to endure disaster following the explosion of nearby Ceti Alpha VI.
Khan in The Wrath of Khan.
As I wrote then, I’m not convinced that we need to see that part of the story! It wouldn’t really explain anything from The Wrath of Khan, as seeing Khan’s descent into madness for ourselves across several hours of television – or an entire film – isn’t necessary in any way to explain his actions or characterisation. Everything we needed to know about Khan is present in Space Seed and The Wrath of Khan.
As a feature film, though, a project like this has merit. It would pull on those nostalgic strings, connect to the franchise’s most well-regarded piece of cinema, and feature an iconic Star Trek character. From Paramount’s point of view, those advantages may make it worthwhile!
Number 4: Borg Invasion.
A Borg Cube over Earth in The Best of Both Worlds, Part 2.
If you’re a regular around here you might remember a Borg Invasion concept being one of my “unsolicited Star Trek pitches” last month! This is a concept that I’ve long felt would be fascinating, and while I envisioned it as a television series, it could perhaps be made to work as a film trilogy instead – potentially making Star Trek 2023 the first part of a short series of films.
But we’re getting ahead of ourselves! The Borg are one of the franchise’s most iconic villains, participating in one of Star Trek’s most highly-regarded episodes – The Best of Both Worlds – and best films – First Contact. The faction itself also hasn’t been seen on screen in any major way since 2003’s Enterprise Season 2 episode Regeneration, perhaps making them due for a comeback!
Borg drones in the Enterprise episode Regeneration – the last time we saw any “active” Borg on screen!
Discovery’s second season told a story which had the potential to be a Borg origin story, and Picard Season 1 also touched on the Borg, in particular Picard’s lingering trauma following his assimilation. But neither series brought back the Borg in a big way, despite the potential existing for either to do so. Could that be because ViacomCBS knew that Paramount Pictures (its subsidiary) was in the early stages of working on a new Borg film? Maybe!
The Borg are terrifying, and such a film would be action-packed and tense in equal measure. It’s been 25 years since Star Trek: First Contact took the Borg to the big screen for their only visit to the cinema so far, so I can’t help but wonder if they’re about to make a reappearance! Whether a Borg story would look to bring back any familiar characters or not is not clear – it wouldn’t have to, but as always in Star Trek, I’d be thrilled to see practically anyone connected to the franchise make a return.
Number 5: The Kelvin timeline version of The Next Generation.
The Season 1 cast of The Next Generation. Is a reboot on the cards?
2009’s Star Trek reboot presented an opportunity to go back to the drawing board and take another look at Kirk, Spock, Dr McCoy, and the rest of the crew of The Original Series. Ever since, (some) fans have been wondering what would happen to The Next Generation in the alternate reality – would the same crew have been assembled, or would its members even exist given the dramatic changes to the timeline?
Perhaps this is something we should explore in more detail another day, but I think that the existence of Chekov in the alternate reality, and the fact that he joined Starfleet, could be taken as evidence of the alternate reality not straying too far from the Prime Universe. Chekov was born after the incursion of Nero’s ship and the destruction of the USS Kelvin, so in theory we could argue that most people we met in past iterations of the franchise should have an alternate reality counterpart – just as they have a Mirror Universe counterpart too.
Did this moment in Discovery Season 3 hint at something to come?
Discovery Season 3 made a small reference to the Kelvin timeline – or at least, an ambiguous reference that felt like a Kelvin connection! In the episode Terra Firma, Part 1, the mysterious Kovich told Dr Culber of a “time soldier” who crossed over from the alternate reality to the Prime Universe. This soldier was wearing a uniform style seen in the first couple of seasons of The Next Generation, so it seems as though there was a comparable era of Starfleet in the alternate reality.
Could Discovery have been dropping a hint at this film? Possibly! Even if that’s just coincidence, it reinforced the existence of the Kelvin timeline – a fact that was known to Starfleet by the 32nd Century. Perhaps it was a subtle reminder to Trekkies that the alternate reality still exists, getting us ready for a new project? The Next Generation is very popular with fans, and rebooting it may seem like a solid idea for Paramount Pictures. Though I know some fans who detest the Kelvin films – or who refused to watch on principle – there’s no denying the reboot was a success, and rebooting The Next Generation could be as well.
Number 6: A Discovery film – if the show ends with Season 4 or Season 5.
Captain Burnham at the end of Season 3.
Speaking as we were of Discovery, its fourth season is due for release later this year. While there is no word yet on Season 5 – at least officially – it seems likely that the show will be renewed for a fifth season, which would presumably be broadcast in 2022. But what will happen next?
Both The Original Series and The Next Generation were followed up by films starring the casts of the shows, and perhaps something similar could be on the cards for Discovery, with Captain Burnham leading her crew onto the big screen. By 2023 we’ll have had at least one – probably two – more seasons of Discovery, so the crew will be almost as familiar to audiences as Kirk and his officers were when The Motion Picture was in production!
The USS Discovery.
If there is to be a fifth season of the show, that would mean production on Season 5 would likely be ongoing at the same time as this film, so maybe this is an indication that there won’t be a Season 5. With a number of other Star Trek television projects in various stages of development – including the untitled Section 31 series which is itself a spin-off from Discovery – perhaps the plan is to end the series after Season 4 and turn it into a feature film franchise instead, with television attention refocused onto other projects.
It would be a big change, but I can see at least one big advantage to a Discovery film: it would firmly establish the 32nd Century in the minds of audiences. I’ve felt for a while that Star Trek needs to try to condense its disparate timelines and time periods as much as possible, and the 32nd Century is by its very nature totally open-ended when it comes to storytelling potential. A Discovery film could be a “soft reboot,” relaunching Star Trek in the 32nd Century and setting the stage for new projects.
Number 7: A Deep Space Nine film – the return of Sisko.
Captain Sisko in Take Me Out To The Holosuite.
I was perhaps overly-critical of a “Captain Worf” idea in the entry above, but one character who I’ve been hoping to see return for over twenty years now is Captain Sisko. The ending of What You Leave Behind – the last episode of Deep Space Nine – more so than any other Star Trek finale left things open. Sisko entered the realm of the Bajoran Prophets, but promised to return in due course.
That return could happen at literally any point in the timeline; the Prophets don’t see time as linear. Sisko could thus appear in the Strange New Worlds, Picard, or Discovery eras – despite the fact that those shows take place centuries apart! But given the importance of his return to Star Trek, perhaps a Sisko feature film is on the cards.
Sisko in Move Along Home.
Sisko would be such a great point-of-view character. His absence from galactic affairs for decades or even centuries would allow the writers of the film to dump a lot of exposition onto the audience without it feeling like it came from nowhere. His return could both set up the plot of a new Star Trek story and provide the audience with a way in; introducing us to new characters, factions, technologies, and the state of the galaxy itself in whatever time period he finds himself.
Such a story could also return to Bajor, looking at whether the Bajorans ever joined the Federation, as well as the aftermath of the Dominion War. The Dominion War arc is one of my favourites in all of Star Trek, and a follow-up of some kind would be absolutely amazing to see. If Sisko returned during the Picard era, he could reunite with people like Major Kira or Dr Bashir, and a mini-reunion of some of the Deep Space Nine crew would be wonderful.
Number 8: A Nemesis sequel.
The Enterprise-E undergoing repairs at the end of Nemesis.
A direct sequel to Nemesis seems unlikely, especially with Picard Season 2 underway and planned for next year. But the official announcement of Star Trek 2023 mentioned a film set after Nemesis as one possibility. That seems incredibly interesting! Would it be set in the Picard era, perhaps with the crew of La Sirena in major roles?
The surviving crew of the Enterprise-D and Enterprise-E have largely gone their separate ways, at least as of Picard Season 1. Riker and Troi live in semi-retirement on the planet Nepenthe. Picard is off with the crew of La Sirena. Worf and Geordi were mentioned by name, but there’s no indication that either are still even in Starfleet at this point! Season 2 of Picard may answer these questions, as well as establish what became of Dr Crusher, and if so that could set the stage for a reunion on the big screen.
Acting Captain Riker in the Picard Season 1 finale.
As above with Discovery, Picard Season 2 is currently filming, meaning that production on Star Trek 2023 would have to wait if it wanted to include Picard himself. But there is another possibility: that a Nemesis sequel would focus on other characters. Perhaps it would look at Riker and Troi in more detail, especially if they returned to Starfleet following the events of Picard Season 1.
Star Trek 2023 may follow Riker’s time in command of the USS Zheng He, and perhaps he reunites with Worf, Dr Crusher, Geordi, or even Wesley! Or we could see the return of characters from Deep Space Nine and/or Voyager, such as Ezri Dax or Tuvok. With Captain Janeway coming back in Prodigy, anything’s possible right now!
Number 9: A Kelvin timeline crossover with either Strange New Worlds or Discovery.
Captain Kirk in Into Darkness.
One of the really enticing possibilities that came up when Strange New Worlds was announced was the possibility of some kind of Pike and Spock crossover story. I would be surprised in some ways to see Strange New Worlds – a highly-requested but completely untested – series hit the big screen, but a Kelvin timeline crossover could be a great way to do it.
Pike and Spock could team up with their alternate reality counterparts, perhaps looking to return to their own universe following some kind of crossover event. The two “young Spocks” would have to logically stand off – Kelvin Spock has already met Prime Spock but he can’t let young Prime Spock know that! It might be confusing, with two different versions of the characters, but it could be a lot of fun too.
Captain Saru in Discovery Season 3.
Alternatively the Kelvin cast could cross over with Discovery’s 32nd Century. Not only have we had the aforementioned reference to the Kelvin timeline during Discovery’s third season, but we know that crossing between the two universes also seems to mean crossing into a different time period. Perhaps someone in the Kelvin timeline accidentally opens a black hole, sending them to Discovery’s 32nd Century.
The reverse would be interesting too, and could draw on themes present in episodes of Voyager like The ’37s. If Captain Burnham and the crew of Discovery found themselves in an alternate 23rd Century, how many of them would struggle with the idea of remaining there, trying to rebuild their lives in a different universe, but perhaps a setting more familiar to them than the 32nd Century? That could be fascinating to explore – as would any crossover between two sets of crews!
Number 10: The Earth-Romulan War.
The NX-01 Enterprise encounters two Romulan ships in the Season 2 episode Minefield.
Picard Season 1 brought back the Romulans in a big way, and they also appeared in Discovery Season 3. The faction is clearly a big part of Star Trek right now, but one aspect of their history has never been explored – despite plans to do so in 2004-05. The unproduced fifth season of Enterprise would – allegedly – have included the Earth-Romulan war, one of humanity’s first major interstellar conflicts.
Fans have long wondered what this would have looked like – even as far back as the Earth-Romulan War’s first mention in The Original Series Season 1 episode Balance of Terror. We saw the first hints of Romulan aggression in Enterprise, as they attempted to disrupt the Earth-Vulcan alliance and start a Vulcan-Andorian War. Captain Archer managed to prevent that from happening, but as we know from Star Trek’s history, conflict with the Romulans broke out regardless.
A Romulan Bird-of-Prey as seen in Lower Decks.
This would be a great opportunity to bring back Captain Archer, T’Pol, or other major characters from Enterprise. It wouldn’t necessarily be an “Enterprise film,” but it could be a film that included at least some of the same characters. A single film might not be able to tell the story of the entire conflict, but it could certainly look at its most decisive battle – and with so little information having been shared on screen, it’s an almost-blank slate for any new writer or producer to play with.
The drawback, really, is that it would be hard to connect such a film to the ongoing Star Trek franchise, which has series set in the 23rd, 25th, and 32nd Centuries. Going back to a time shortly after Enterprise would isolate Star Trek 2023, and while it could be the springboard for more 22nd Century adventures to come, it could also end up feeling disconnected.
So that’s it. Ten possibilities for Star Trek 2023.
It’s quite likely that all of these suggestions are completely wrong; Paramount Pictures and ViacomCBS are just as likely, in my opinion, to want to take the cinematic franchise in a new direction with a new crew than they are to revisit something from Star Trek’s past. But that doesn’t mean it wasn’t a lot of fun putting this list together and considering the possibilities!
Star Trek 2023 probably won’t bring back these uniforms!
Star Trek 2023 is a truly exciting prospect. I desperately hope that it will come to streaming instead of the cinema – as you may know if you’re a regular reader, my poor health means I can’t get to the cinema in person any more. Probably it will be given a theatrical release, though, which will mean months of trying to avoid as many spoilers as possible for me! Time will tell.
For now, though, suffice to say I’m intrigued by the prospect of the first new Star Trek film since Beyond, and potentially the first film to feature a different cast of characters since 2009. Whether or not this is the previously-announced project written by Discovery and Short Treks producer Kalinda Vazquez is also not clear. We know basically nothing about this film right now except its planned release date! Hopefully we’ll learn more soon, so stay tuned. I’ll be sure to take a look at any casting information, behind-the-scenes details, or any other news that comes our way.
The currently-untitled Star Trek film is scheduled for release on the 9th of June 2023. This film is the copyright of Paramount Pictures and ViacomCBS, as is the entire Star Trek franchise. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for The Last Of Us and The Last Of Us Part II.
What on earth is going on with these far-too-soon remakes? Not only are we getting the visually disappointing Mass Effect: Legendary Edition later this year, but now the 2013 PlayStation 3 title The Last Of Us is apparently being remade as well. What a stupid idea that is. Evidently Sony, a company celebrated across the PlayStation 4’s lifespan for its great crop of exclusive titles, is creatively bankrupt, running out of ideas and being forced to go back to previously-successful titles desperately looking for games to remake or to produce unnecessary sequels to.
The Last Of Us Part II was released last year, and whatever you may think of its merits there can be no denying it was a controversial title. Rather than expanding the franchise or taking it in a new direction, Sony and developer Naughty Dog opted to revisit the same characters – and tacked on a story that didn’t go down well with many fans. Given the sequel’s controversial reception, I wouldn’t have expected that a return to the world of The Last Of Us would have been on the agenda so soon, but there you go.
The Last Of Us Part II was poorly-received by many fans.
Forget about the sequel. The original The Last Of Us is one of the best narrative games I’ve played in a very long time, such that I was even able to see past its horror elements – a genre I don’t usually enjoy. The characters were wonderful, the story pitch-perfect, and the setting unique. Eight years on from its original release, it’s still a fantastic game.
Visually, the game looks great. Its levels are tense and atmospheric, and I once described the game’s world as “hauntingly beautiful,” a description I stand by. By 2013, Naughty Dog and other developers were truly able to take advantage of the PlayStation 3’s powerful hardware, and they created a game that looks just amazing.
This screenshot hardly does justice to the visual beauty present in The Last Of Us.
So why does it need to be remade?
The answer, of course, is that it doesn’t. As with the Mass Effect trilogy, The Last Of Us is just too recent to see any significant changes or improvements, either visually or in terms of gameplay. Remastering or remaking the game – which has already been done once, shortly after the PlayStation 4 launched – is simply a cheap way for Sony to make money.
Rather than investing time and money in developing a new game, Sony sees a remake of The Last Of Us as a cash cow; a cheap way to reuse and recycle content it already owns into a “new” package that fans will lap up to play on their new consoles. That is, if anyone has been lucky enough to find one of the approximately eight consoles Sony manufactured in time for last year’s launch.
The Last Of Us was remastered in 2014 for the PlayStation 4.
To be totally fair, this applies to Microsoft’s Xbox Series X as well. But the PlayStation 5 launched too soon with not enough stock available, and with no plan in place to keep consoles out of the hands of scalpers and touts. The result has been total unavailability of consoles except to players who are willing to pay double the official price – or more – on sites like eBay. This incredibly anti-consumer move was blamed on the pandemic – as everything is these days – but my response to that is simple: if you didn’t have enough supply to fulfil consumer demand in the run-up to launch, you could have simply delayed the damn launch.
I’m sick to the back teeth of companies across the entertainment industry using the pandemic as an excuse for everything. There’s a worldwide shortage of semiconductors, silicon, and other key components in computer chips and other electronics. This is having an effect on PC components, games consoles, phones, and even cars. The smart, consumer-friendly thing for Sony to have done last year would have been to institute a six-month delay, launching the console later this year when more units had been manufactured. As it is, PlayStation 5s are sold out everywhere, a situation unlikely to change any time soon. But we’ve drifted off-topic.
Good luck finding a PlayStation 5 for its recommended retail price!
With so few games on PlayStation 5 right now, and Microsoft’s Game Pass service seemingly coming from nowhere and catching them off-guard, Sony is scrounging around looking for anything to shove on the new console to make it appear to be a worthwhile purchase for players. PlayStation 5 isn’t close to being worthwhile yet, by the way, so if you haven’t been able to find one, don’t worry. You aren’t missing out on much!
PlayStation 5, like its predecessor console, has serious issues with backwards compatibility. “Most” PlayStation 4 games work on the new system, according to Sony, but older titles don’t. So perhaps they see that as an excuse to give a relatively recent, good-looking game like The Last Of Us a facelift? Except, of course, as I mentioned above there’s already a PlayStation 4 version of the game which should be compatible with the PlayStation 5, so even that excuse – poor though it was, as a lack of proper backwards compatibility is Sony’s own fault – doesn’t hold water.
The Last Of Us created a hauntingly beautiful post-apocalyptic world.
This is a naked attempt to squeeze more money out of a successful project, and to avoid taking the risks associated with creating something new. If it hadn’t already been done, making this the game’s second remake, I guess it would have slipped under the radar. But the absolutely ridiculous, kind of pathetic situation of remaking the same game twice in less than seven years just makes it laughably obvious.
Instead of selling a copy of The Last Of Us on PlayStation 3 or PlayStation 4 for less than £10 (the PlayStation 4 version is £7.99 on the PlayStation Store at time of writing) Sony clearly plans to push this “remake” as a big deal and slap a hefty price tag on it – perhaps they’ll even try to get away with making it a full-price title. But what would fans get for that money? How can you make a decent-looking game from only eight years ago look substantially better? Mass Effect: Legendary Edition is trying to accomplish that same task, and when I look at that game’s own pre-release marketing material, I can’t even tell which screenshot is from which version. They look so similar it’s not even a joke.
Promo art for The Last Of Us. Remember that this game is barely eight years old.
The Last Of Us is in the same boat as the Mass Effect trilogy, and the fact that it had a PlayStation 4 remaster already actually makes it even worse. I thought this was a joke when I first saw the reports, but apparently this is true. Sony actually plans to remake an eight-year-old game for the second time and sell it as new. I’m glad I don’t own a PlayStation 5 if this is what we can expect from the company this generation.
No matter what they decide to officially title it, I hope we can all agree here and now to only ever refer to this abomination as The Last Of Us Remastered Remastered – so as to emphasise what a stupid idea this truly is.
The Last Of Us is out now for PlayStation 3 and PlayStation 4, with the PlayStation 4 version able to be played on PlayStation 5. The Last Of Us and The Last Of Us Part II are the copyright of Naughty Dog and Sony Interactive Entertainment. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are minor spoilers ahead for the Star Trek franchise.
In case you missed the official announcement, a new Star Trek film has been officially greenlit by Paramount Pictures and given a release date: the 9th of June 2023! Better make a note in your calendar!
Unfortunately that’s literally all we know. Even the official Star Trek website didn’t have any more information, with whoever was tasked with writing up the announcement trying to pad out the piece… kind of like I’m doing now.
I would assume at this stage that this film is the project we recently learned was being written by Star Trek: Discovery and Short Treks producer Kalinda Vazquez, because that’s the only one we know of that’s actively in development. Other potential feature film projects – including a fourth Kelvin-timeline film, a Quentin Tarantino film, and a film by Noah Hawley that was described as “ready-to-go,” have all either been shelved or those involved have moved on to other things. But that doesn’t mean it’s necessarily the film written by Vazquez; it could be a previously-unknown film!
This could be another Kelvin film… but even StarTrek.com doesn’t know!
The post on the official Star Trek website mentioned the Kelvin timeline, but it also dropped a tantalising hint that it could be a new film in the Prime Universe set sometime after Nemesis. I’ve already looked at the pros and cons of a potential return to the Kelvin timeline, but there’s definitely scope to revisit the late 24th Century. Perhaps the new film will be set alongside – or even connected to – Star Trek: Picard.
There have been rumours about possible upcoming Star Trek projects for as long as there’s been a Star Trek fan community, and I’m at a stage now where I don’t believe any unless they’re officially announced or confirmed! There are just too many competing rumours out there to know for sure – and too many rumourmongers on the internet who like to spread nonsense. So while it may be fun to speculate – and I’m sure I will at some point soon – let’s not get ahead of ourselves when it comes to this new project. It’s very early days!
June 2023 is just over two years away, which is ample time to kick-start production of a feature film… at least, under normal circumstances! Hopefully the pandemic will not prove too disruptive, or too expensive, to this new project.
Maybe a post-Nemesis film is on the cards?
Personally I’d love to see this film come to Paramount+ (or whatever streaming platform they choose for UK distribution). As you know if you’re a regular here, my health precludes going to the cinema these days, sadly. But I expect, given that it appears to be a “proper” feature film and not a made-for-streaming affair, it will be given a theatrical release.
As and when more information is revealed, be sure to check back here on the website, as I’ll do my best to break down and take a closer look at whatever news we get!
So that’s it. That’s all we know at this stage.
New film. 9th of June 2023. Set a course and engage!
The currently-untitled Star Trek film is scheduled for release on the 9th of June 2023. This film is the copyright of Paramount Pictures and ViacomCBS, as is the entire Star Trek franchise. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Lower Decks Season 1 and the teaser for Season 2. Further spoilers are present for the following: Star Trek: The Next Generation, Star Trek: Nemesis, and Star Trek: Deep Space Nine.
Star Trek’s First Contact Day event took place earlier this week, and in addition to some fun panels with members of the cast and behind-the-scenes teams we got three teaser trailers for upcoming Star Trek shows. I’ve already taken a look at elements from the Discovery Season 4 teaser and the Picard Season 2 teaser, so this time it’s Lower Decks’ turn to go under the microscope! And a microscope seems appropriate considering series creator Mike McMahan called this teaser a “microscopic look” at the upcoming season!
If you missed my write-up of the First Contact Day event, by the way, you can find it by clicking or tapping here.
Lower Decks is not really a show that lends itself to a great deal of theory-crafting. Its episodic format and somewhat random nature mean speculating about specific storylines feels futile! Despite that, however, there are a couple of big questions raised by the teaser, and I’ll do my best to look at them in turn.
Ensigns Tendi, Rutherford, and Mariner in the teaser.
First up, the bridge crew. Aside from Commander Ransom (who appeared to be possessed!) the rest of the bridge crew were absent from the teaser. What could that indicate? After Shaxs was killed off at the end of Season 1, it feels as though the main characters are not as “safe” as we might expect, so perhaps another member of the senior staff won’t survive the season? That could be one explanation! Alternatively, the bridge crew could’ve been kept under wraps to avoid spoiling Shaxs’ replacement, particularly if there’s a new character who’s either visually distinctive or perhaps a returning character from a past iteration of the franchise.
We’ve seen a number of guest-stars across Season 1 who had been involved in Star Trek in the past – such as John de Lancie and JG Hertzler – but it would be potentially really interesting if someone we knew well from a past iteration of the franchise were to have a recurring role. Tuvok could replace Shaxs as head of security, for example, or time-travel shenanigans could see the return of someone like Travis Mayweather from Enterprise. That could be a great twist, and bringing back a character who doesn’t seem to fit anywhere else in the franchise right now seems like a lot of fun!
Ensign Mayweather of the USS Cerritos?
We’ve seen Prodigy go down a similar road with the return of a holographic Captain Janeway, and that series has a lot of potential. Maybe it would risk feeling repetitive coming so soon after Prodigy’s announcement of Janeway’s return, but even so I think it could be fantastic if done well. There must be plenty of ex-Star Trek stars who’d love the chance to come back even in voiceover form!
Next let’s look at Ensign Rutherford. At the end of Season 1, Rutherford’s trademark cybernetic implant was ripped out. This put him in a coma, and when he awoke he was missing all of his memories from Season 1, including meeting Tendi. In the teaser, though, his implant was back (and looking exactly the same as it did last season) and he seemed to be friends with Tendi and Mariner again – so what happened?
Rutherford’s cybernetic implant was ripped out in the Season 1 finale.
We’ve been promised that Season 2 won’t simply “reset” Lower Decks and ignore the events of the Season 1 finale, so somehow Rutherford has gotten a new implant and rebuilt his relationships with Mariner and Tendi. I hope we get to see at least some of that, because there’s potential in a “we used to be friends but you can’t remember” storyline, both from a dramatic and comedic perspective.
The implant was okay, and certainly gives Rutherford a distinctive design. Having had it removed in Season 1, though, there was potential to redesign it or do something different with Rutherford, and changing things up for him could open up new storytelling possibilities for the character. We’ll have to see what – if anything – the show does with all of that.
Rutherford’s implant is back!
That brings us to Boimler! At the end of Season 1, Boimler was promoted and transferred to the USS Titan under Riker’s command. Mike McMahan had already said that Season 2 would begin with him serving there; as mentioned there would be no “reset” to keep him on the Cerritos. And we saw in the teaser the first signs that his posting was not going well!
After cutting to Boimler, the first thing we see is him screaming loudly, panicking and unable to cope with whatever bizarre situation the Titan has got itself into. Up next, with the ship seemingly on course for a nebula, ion storm, or other spatial anomaly, Boimler doesn’t understand one of Riker’s turns of phrase, loudly exclaiming “what does that even mean?!”
Boimler’s new posting doesn’t seem to be going so well…
It seems safe to assume that, somehow, Boimler will find himself back aboard the Cerritos. But how? In one of the teaser’s other scenes, we seemed to see Boimler taking part in some kind of away mission, working on a computer while three other figures – clearly not the three other ensigns – defended him from being attacked. Did this mission happen during his time on the Titan? The absence of the other ensigns hints at that, and not seeing the three of them together at all in the teaser suggests that Boimler could remain aboard the Titan for more than just a few minutes during episode 1!
For a show that bills Mariner as its main character, we didn’t see as much of her in the teaser as I might’ve expected. She was briefly seen wearing anbo-jyutsu armour (first seen in The Next Generation Season 2 episode The Icarus Factor) and again fighting off a group of Cardassians. Neither of those short sequences told us much from a story point of view – except that, at some point in the season, she presumably takes part in an anbo-jyutsu match and battles some Cardassians!
Mariner in her anbo-jyutsu armour.
The Cardassian fight looked like it could potentially be a flashback; on rewatching it I’m not entirely sure why I think that, but it was my initial reaction so I’m sticking with it! We saw a flashback of Mariner in Season 1 when she visited Deep Space Nine, so perhaps this will be something similar. And it’s worth noting that the only anbo-jyutsu match we’ve ever seen in Star Trek featured Riker – who will be making an appearance in the season. Could Mariner face off against Riker? And if so, could the “prize” be getting Boimler back?
Other things I spotted in the teaser were: a Miranda-class ship coming under attack, a mugato (the white ape-like creature with a horn) from The Original Series Season 2 episode A Private Little War, Ransom’s “possession” possibly taking place on either the Klingon or Cardassian homeworld (a guess based on the architecture in the background), Mariner’s Cardassian fight taking place in front of four lights (perhaps an homage to The Next Generation Season 6 episode Chain of Command), and the Titan seemingly coming under attack while on course for the anomaly.
It’s not easy to spot from this angle, but that’s Boimler in the upper-right, working on the computer terminal.
The only character who didn’t have much to do in the teaser was Ensign Tendi. She had one moment with what looked like a snake-alien (or perhaps just a bunch of snakes) and she had the trailer’s only real line, wondering about how Boimler is getting on. In Season 1 Tendi never really found the right fit, with different stories trying out different personalities for her. She spent most of the season in “new and eager” mode, overawed by every small detail she encountered. Attempts to move her away from that had her turning clumsy, like Boimler, or into a super-genius like Rutherford, and I never really felt that Tendi was a settled character. Perhaps her lack of role in the teaser is indicative of that trend continuing – but I hope not. It would be great for her to find a niche and settle in.
For a teaser that barely clocked in at thirty seconds, the Lower Decks team crammed a heck of a lot in! I’m sure I missed things even having rewatched it a dozen times, so be sure to take a look for yourself to see what you can spot!
The USS Cerritos.
The first season of Lower Decks was fantastic, but sadly marred by a stupid decision on the business end from ViacomCBS to split up the show’s broadcast by geography. The resultant damage to Lower Decks from lost hype and interest was a problem during Season 1, and there’s no getting away from that. However, now that an international agreement has been struck to give Lower Decks a home on Amazon Prime Video, its future feels a little more settled.
Speaking of the show’s future, a third season has now been confirmed. With all of the other exciting things going on from First Contact Day I didn’t spot that announcement at first, but it’s now official! Obviously ViacomCBS was pleased with the reaction to the show both in the USA and around the world when it finally made its international debut, and that’s great news. If the creative team can keep up the quality, it would be great to see it run for four seasons, five, or potentially even more.
Lower Decks is the only upcoming Star Trek project to have an official broadcast date: Season 2 will premiere on the 12th of August. Presumably that means the 13th of August for the rest of us! Oh well, that’s only four months away! We can start to get excited already!
Star Trek: Lower Decks Season 1 is available to stream now on Paramount+ in the United States and other countries and territories where the service is available. The series is available to stream now on Amazon Prime Video in the United Kingdom and elsewhere. The Star Trek franchise – including Lower Decks and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1, the teaser for Season 2, and for the following: Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Star Trek: Voyager.
Star Trek’s First Contact Day event a few days ago provided a lot of information and teases for upcoming projects in the franchise! Yesterday I took a look at one element from the Discovery Season 4 teaser, and today it’s Picard’s turn to go under the microscope! I wrote up my thoughts on the entire First Contact Day event, by the way, and if you missed that article you can find it by clicking or tapping here.
Both Discovery Season 4 and Lower Decks Season 2 are well into production – in fact, we now know that Lower Decks will be broadcast beginning on the 12th of August! Both shows were able to compile teaser trailers that incorporated a number of different scenes, probably from multiple episodes, and thus we had quite a lot to pick through for each! Picard Season 2, however, only entered production at the end of February, so naturally there wasn’t much to show.
There was a lot more to see from Discovery’s upcoming fourth season!
Instead what we saw was a stylised teaser, which I assume was deliberately filmed for First Contact Day. It seemed to include a shot of Château Picard – the Picard family vineyard – that was part of Season 1; a recycled shot to set up the rest of the teaser. The rest of the teaser comprised a shot of Picard’s study/office at the vineyard, with the camera lingering over a handful of items in the empty room.
The item most confusing to me at the moment is the book Paradise Lost! It’s an epic poem that I once had to read at school, written in the 1600s. And it’s all about Satan and God. Given what Picard is heard to say in voiceover about travelling through time and not knowing what might have been had different actions been taken, perhaps the meaning of Paradise Lost is less to do with the content of the poem than a literal reading of the title – something Picard did or didn’t do in the past changed the present, making things worse. That could be his “paradise lost.” This is frustrating!
How does Paradise Lost connect to the story of Season 2?
But Paradise Lost is not what we’re talking about today. In the teaser, Picard spoke of time as “the true final frontier,” and combined with the teaser focusing both on clocks and a backwards-running hourglass, time travel seems to be on the agenda! That’s before we get to Q, who is returning to tangle with Picard once more. Q is quite capable of time travel, as we’ve seen numerous times. Sir Patrick Stewart seemed to at least hint that Q isn’t responsible for whatever happens to Picard, but he’s clearly involved to some degree.
In addition to all of the time-related imagery, one thing from the trailer really leapt out at me: a model of the USS Stargazer. It’s the Stargazer that we’re going to talk about today, as the teaser seemed to at least hint at the possibility of revisiting this chapter of Picard’s life – something I predicted Season 2 might do a few weeks ago!
The USS Stargazer model as seen in the Season 2 teaser.
So let’s consider a few possibilities for how the USS Stargazer could be included in Season 2 of Picard. We’ve already heard the ship mentioned in Season 1; Dr Benayoun referenced Picard’s time aboard the ship in the episode Maps and Legends. Perhaps that was a hint at things to come in Season 2, and perhaps Dr Benayoun himself will make a return. We’ll have to wait and see what happens when the season airs next year!
My usual caveat applies: I have no “insider information.” I’m not claiming any of the things on this list will definitely happen in Season 2. This is just speculation and guesswork; a bit of fun and a chance to spend a bit more time talking and theorising about Star Trek. That’s all! So with that out of the way, let’s take a look at my six USS Stargazer theories.
Number 1: Picard’s “death” and a redux of The Next Generation Season 6 episode Tapestry.
Picard was given the option to make changes in his life in the episode Tapestry.
When I think of Q, Picard, and time travel, one of the first episodes that comes to mind is Tapestry. Given that Picard has faced death in Season 1, perhaps the stage is set for some kind of redux of this episode, or at least a story which uses a similar premise. In Tapestry, Picard was given a chance by Q to go back to his past and make changes in his life, choosing to use the wisdom of age to be more cautious and less impulsive. At first it seemed to save his life, but the changes made his life far worse and unliveable.
What wasn’t clear in Tapestry is whether Q and Picard were truly travelling through time or whether it was an elaborate illusion. I choose to think it was the former; Q had the power to do all of those things, after all! So maybe he will give Picard a chance to do so again.
Q in Tapestry.
At this stage we don’t know why Picard wants or needs to travel through time. It may be connected to the Zhat Vash, Coppelius, the super-synths from the season finale, or something else that happened last season. It may be connected to something from The Next Generation. Or it may simply be a new storyline written for the show as happened in Season 1. But if he did want to go back in time to change the past, perhaps he would enlist the help of Q, setting up a story similar to Tapestry.
If Picard were to go back in time to his Stargazer days, there are a lot of things he could potentially do differently, and thus a lot of different ways that the story could go. You’d think that, after what happened in Tapestry, Picard would have learned his lesson about changing the past. But if Q showed him a very different, far better future, perhaps he could be convinced to make such a change.
This might connect to the “paradise lost” concept that I touched on at the beginning. Perhaps Q is able to convince Picard that his best option, or the only option, to get a particular outcome in the future is to change the past?
Number 2: The Cardassian Border Wars.
Picard has had run-ins with the Cardassians before.
Though only mentioned briefly in The Next Generation, Picard was in command of the USS Stargazer during the Cardassian Border Wars. Not to be confused with Deep Space Nine’s Dominion War, this conflict took place in the mid-24th Century, prior to the events of The Next Generation. Picard made reference to one encounter in which a Cardassian ship fired on the Stargazer while the shields were down, causing him to have to flee!
One of the interesting things about choosing the Stargazer for part of Season 2’s setting as opposed to the Enterprise-D is that we know relatively little of Picard’s exploits while in command of the ship. Picard was in command of the Stargazer for around twenty years (from the 2330s to the 2350s) yet we only got brief hints at what he did in all that time. That makes it a relatively blank slate as far as the writers and producers of Season 2 are concerned.
A Cardassian Galor-class ship attacks the Enterprise-D in the episode The Wounded.
We do know, however, that Picard and the Stargazer saw action during the Cardassian Border Wars, and perhaps this could be a way for Star Trek to revisit the faction we got to know so well in Deep Space Nine. As one of the few known events during Picard’s time in command of that vessel, it’s at least possible that we’ll see it mentioned!
The Next Generation Season 4 episode The Wounded saw Picard work with the Cardassians, so it doesn’t seem as though he harbours any lingering feelings toward them; certainly not like the trauma he carries after his experiences with the Borg. So I don’t think that revisiting the Cardassian Border Wars would lead to the kind of powerful moment that we saw when Picard visited the Artifact in Season 1. But there could be something from those days that Picard has to confront, or perhaps he’s been hiding or repressing his feelings about the Cardassians since then?
The advantage to bringing the Cardassian Border Wars into play, at least from my point of view, would be that it would allow the series to revisit some of the events seen in Deep Space Nine and Voyager. Picard may not have much connection to those events, but other characters do. Seven of Nine, for example, served with and was once in a relationship with Chakotay, and his Maquis friends were killed by the Cardassians. Perhaps some kind of story related to Cardassia and the Cardassian Border Wars is on the cards.
Number 3: Assuming command in the 2330s.
Picard served in Starfleet for decades.
One of the things that Picard inadvertently changed during the events of Tapestry was that he never assumed command of the USS Stargazer. All we know of this event is that, following the death of the ship’s captain, Picard boldly assumed command. Doing so was a risk, one that the less cautious young Picard was willing and able to take. Following this event, he was appointed as the ship’s permanent commander and (presumably) promoted to the rank of captain.
The death of a ship’s captain is a significant moment, one that we haven’t seen often within Star Trek. Presumably the Stargazer’s captain was killed violently or during some kind of disaster or emergency; if he’d simply died of natural causes Picard’s tale of assuming command would be far less grand! So whatever happened, I think it’s fair to say it came at a difficult moment for the ship and crew.
Picard hallucinates the Stargazer crew in the episode The Battle.
This event may turn out to have some connection to Q or to something from Season 1 of the show. We could learn, for example, that the Zhat Vash or the super-synths were responsible for the attack on the Stargazer, and thus for Picard’s ascent to the captain’s chair. It may then be the Zhat Vash who want to go back in time to undo something, changing events so that Picard wouldn’t be in a position to help Soji and the Coppelius synths.
Maybe that’s a stretch and a reach, but the idea of undoing a mistake and trying to alter the future seems to be a theme of the season, according to the teaser. Picard himself was heard in voiceover saying that time never offers second chances – so perhaps the person or faction hoping to change the past is not Picard and his new crew, but some other nefarious faction. Picard and the crew of La Sirena may even be travelling back in time to preserve the timeline, not change it.
When it comes to factions we know of within Picard that could be interested in changing the past, the Zhat Vash have to be right up at the top. They’re fanatics, and after their recent defeat both at Coppelius and with the repeal of the ban on synthetic life they may try to travel back in time to exact their revenge. Going back to prevent Picard ever becoming a captain, changing his career and stopping him interfering in their plans, may be what they have in mind. One of the neat things about revisiting this era would potentially be a return of the red Starfleet uniforms!
Number 4: The Battle of Maxia.
The “Picard Manoeuvre” – Picard’s tactic at the Battle of Maxia.
At the opposite end of Picard’s time in command was the Battle of Maxia. At this battle, in which Picard faced a Ferengi ship, he devised the “Picard Manoeuvre” – a tactic that allowed his ship to appear to be in two places at once, and which was later taught at Starfleet Academy. In the aftermath of this battle, however, the Stargazer was lost. Presumed to have been destroyed, the ship was actually salvaged by the Ferengi.
The “Picard Manoeuvre” was referenced in Season 1, during the episode Et in Arcadia Ego, Part 2. As with the earlier reference to the USS Stargazer, perhaps this was setting up something that will become important in Season 2, or at least reminding us of its existence! These little crumbs could form a trail for us to follow, perhaps informing us of planned events in Season 2. Or I could be reading too much into individual lines, as I always seem to be!
Picard on the bridge of the Stargazer.
The Battle, the ninth episode of The Next Generation, explored the Battle of Maxia in more detail. It’s probably the one event involving the USS Stargazer that has been most closely examined on screen. That could mean it’s a good place for Season 2 to go, as it’s something we’re at least a little familiar with. Or it could mean that, as Picard has already confronted his actions at the battle and their consequences, there isn’t much left to explore.
In any case, it remains a possibility. Returning to the Battle of Maxia could see the return of the Ferengi in some capacity, though their involvement was not known at the time. As above, it could be a chance either for Picard to correct a mistake, or for someone nefarious to attempt to change the past – his past – by changing the outcome of the battle.
Number 5: The death of Jack Crusher.
Jack Crusher died while serving on the Stargazer.
Jack Crusher – husband to Beverly and father to Wesley – died while serving under Picard’s command aboard the USS Stargazer. It was at least implied that Picard bears a degree of responsibility for his death, or at least feels responsible for what happened. Perhaps that’s simply because of how he is as a commanding officer – but could there be more to it than that?
Of the main cast of The Next Generation, only Dr Crusher’s fate was left unconfirmed in Season 1. We saw Riker and Troi of course, and Data we know has died. Zhaban also confirmed that Geordi La Forge and Worf are still alive, so that only leaves Dr Crusher. In at least one future timeline, she and Picard had married – we saw no evidence for or against this idea in Season 1, so perhaps it could be explored in Season 2.
Jack Crusher in hologram form.
In the teaser, Picard spoke about how we often wish we’d acted differently during a crisis, and perhaps one thing he wishes he had been able to change was whatever led to Jack Crusher’s death. We could also learn that the Zhat Vash, super-synths, or some other faction or entity from Season 1 is involved in the events that led to him being killed, forming a kind of circular story going back to Picard’s past.
If Dr Crusher were to be involved in Season 2, she would undoubtedly have something to say about the possibility of revisiting the moment of Jack’s death! Maybe she would try to talk Picard out of it, saying that changing an event more than fifty years in the past would have huge ramifications for them both. Or maybe she’d be in favour of going back in time to prevent it from happening if his death set in motion a series of events that led to horrible consequences at the dawn of the 25th Century.
It’s also possible that Jack Crusher’s death may simply be the backdrop for the story – an event connected to something else in the series, but not something Picard hopes to undo.
Number 6: Anti-time and All Good Things…
Q and Picard in All Good Things…
In the finale of The Next Generation, Q set Picard a puzzle to solve that required him to think outside the box. In short, events in the future were – somehow – having a causal effect on events in the past. Figuring that out, and learning for the first time that time is not necessarily linear and moving only in one direction was what Picard learned.
As above with Tapestry, when I think of Q and time travel, I also think of All Good Things. The teaser made reference to “the trial,” and I believe even used a line spoken by Q in All Good Things as it drew to a close. Q told Picard in that episode that his and humanity’s trial in the eyes of the Q was ongoing, so perhaps the return of Q will mean revisiting some of these concepts.
Q in his “judge” guise in All Good Things…
Something that will be potentially interesting to explore are Q’s views on mortality. In the Voyager Season 2 episode Death Wish, Q helped a fellow member of the Q Continuum to die, but has never had to confront mortality himself. In many ways, Q seemed to regard Picard as something akin to a friend, and watching him age and confront death might be something that would interest and bemuse him.
In the panel that immediately followed the teaser, Sir Patrick Stewart appeared to refer to Q appearing in only a single episode, so perhaps his influence over the season won’t be as significant as we’re assuming. It was also implied that Q is not the cause of whatever the main event of the season is. However, if Picard needed to travel back in time for some reason – such as to prevent something catastrophic from happening in the present – he may voluntarily call upon Q. After all, how many other methods of time travel is Picard aware of?
All we can say for sure at this stage is that Q is involved somehow. But given the teaser’s focus on time travel, maybe his involvement will be in sending Picard and his new crew back in time, perhaps to the time he served aboard the Stargazer.
So that’s it. Six theories about Picard Season 2 and the USS Stargazer!
At this stage, with the second season perhaps as much as a year away from being broadcast, we have very little to go on. As mentioned, the teaser didn’t include a single character or completed scene or sequence, so I’m reading an awful lot into a few lines of voiceover and the imagery presented! We don’t even know for sure that the USS Stargazer will be included in any form, let alone visited through time travel!
The USS Stargazer being towed by the Enterprise-D.
Despite that, however, it’s great fun to speculate and theorise about what might be happening. The series is currently in production, with filming ongoing at time of writing, and while we’re unlikely to see another teaser or trailer any time soon, I’ll be keeping an eye out for any tiny tidbits of news that may come our way!
Discovery has shot forward into the 32nd Century; the far future. As such, it’s less easy for that show to bring back characters, themes, and storylines from Star Trek’s past – though that didn’t stop me making a few guesses about what may be going on in Season 4! But Picard is only set twenty years on from the events of the 24th Century Star Trek shows, and as such we could potentially see the inclusion of all manner of characters and other story elements – as indeed we saw happen in Season 1.
Regardless, I’m excited to see where Picard Season 2 takes the story next. The return of Q promises to be great fun, and while the season is a way off yet, I think it’s okay to make a few tentative guesses about what may be going on!
Star Trek: Picard Season 1 is available to stream now on Paramount+ in the United States and other regions where the platform is available. It may be streamed on Amazon Prime Video in the United Kingdom and other countries and territories. Star Trek: Picard Season 2 is scheduled to premiere on Paramount+ and/or Amazon Prime Video next year. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-3 and the teaser trailer for Season 4. Further spoilers are present for the following: Star Trek: Picard Season 1, Star Trek: The Next Generation, Star Trek: Generations, Star Trek: Voyager, and Star Trek: Enterprise.
Star Trek’s First Contact Day virtual event has given us an awful lot to digest! We got teasers for Picard Season 2, Lower Decks Season 2, Discovery Season 4, and more details about Prodigy. If you missed the event, I wrote up my impressions of everything we saw, and you can find that article by clicking or tapping here.
This time, I want to look at the teaser for Discovery’s impending fourth season in more depth, and in particular start making some guesses about what may be going on! The teaser was barely ninety seconds long, and with the show at least six months away it may be futile to speculate about pretty much anything! But that hasn’t stopped me in the past, so let’s jump in!
Sonequa Martin-Green plays Captain Michael Burnham in Discovery, and introduced the Season 4 teaser during the First Contact Day event.
My usual disclaimer applies: I don’t have any “insider information.” I’m not offering up these suggestions saying any are unequivocally true. This is nothing more than speculation from a fan – and a chance to spend some more time talking about Star Trek, which I absolutely adore.
In the run-up to Season 3 last year, I spent a lot of time speculating about the event that ultimately turned out to be the Burn. When we first heard its name I put together a list theorising a number of possible connections to past iterations of Star Trek – but as you know by now, none came to pass!
Michael Burnham in Season 3, trying to figure out what caused the Burn.
Discovery has had an on-off relationship with Star Trek’s broader canon. Season 1 sidestepped a lot of things, redesigning the Klingons, visiting the Mirror Universe years before Kirk’s first crossing, and fighting a major war. Season 2 tied itself much closer to canon, bringing in Captain Pike, Spock, and revisiting Talos IV. Season 3 shot forward into the future, and told a story that touched on past iterations of the franchise at points, but had an overall narrative that stood on its own two feet.
In short, trying to guess whether Season 4’s main storyline will be related to something we’ve seen in the past or not is a crapshoot. Maybe it will be, maybe it won’t. Regardless, if it’s going to be something brand-new then naturally the details become impossible to predict! So in this list I’m going to look at eight possibilities from Star Trek’s past that could explain what we saw in the teaser.
A determined-looking (and armoured) Burnham in the Season 4 teaser.
First of all, let’s explain what exactly we saw! Stamets described a “gravitational anomaly” that’s at least five light-years in diameter. This anomaly appears to be incredibly destructive, and if Burnham is correct, it’s appearing and disappearing at random. As a result, it could potentially strike any Federation or non-Federation world or starship without warning.
Assuming that this anomaly is the main problem facing Captain Burnham and her crew in Season 4, I’ve got a few ideas for what it could be, or what it may be related to. I quite like the idea of Discovery sticking with the “natural disaster” concept from Season 3. It worked well last time, and presenting the crew with a puzzle, mystery, or challenge that’s more scientific in nature than military could be wonderful to see. As long as such a storyline manages to avoid feeling either repetitive or anticlimactic, I think it works in principle.
Stamets in the Season 4 teaser. He told us about the “gravitational anomaly.”
One final point of note is that, due to disruption caused by the pandemic, Discovery Season 4 began filming back in November, well before Season 3 had finished airing – and crucially, before the creative team had time to process any feedback they were getting about the season’s themes and storylines. As a result of that, it may be the case that Season 4 doesn’t make as many changes from Season 3 as some fans would have wanted to see. But once again, that’s speculation on my part!
So let’s consider this “gravitational anomaly,” then. What could it be? What have we seen in past iterations of Star Trek that could potentially be involved? Will there be any tie-ins to other ongoing series, such as Picard, or will the show set up something we’ll see return in a future project, such as Strange New Worlds? Let’s jump into the list and see if we can make some reasonable guesses!
Number 1: The Nexus
The Nexus approaching the planet Veridian III.
When I first saw the teaser, my mind immediately went to the Nexus, the energy ribbon seen in Star Trek: Generations. The Nexus was large, more than large enough to engulf an entire planet, and while it may not have been light-years in diameter when we saw it in that film, it’s possible it grew… somehow! The Nexus was incredibly destructive, causing the destruction of two transport ships and seriously damaging the Enterprise-B, not unlike some of the damage suffered by the USS Discovery in the teaser.
There are two crucial points which made me think of the Nexus, though. The first is that the energy ribbon was said to contain a “gravimetric field,” which sounds an awful lot like Stamets’ “gravitational anomaly.” Both seem to be connected to gravity, and as we saw in the teaser, the USS Discovery appears to lose its artificial gravity at one point.
The Enterprise-B trying to manoeuvre inside the Nexus.
The second point I consider key to the Nexus being a possibility is that we already know it’s something that recurs. The Nexus returns to the Milky Way galaxy every 39.1 years (according to Data in Generations) and unless something major happened in the intervening centuries, this force of nature should still be present, periodically crossing through the galaxy.
At a couple of points in the teaser we saw members of Discovery’s crew looking dazed and confused, not unlike how Soran and Guinan appeared after being transported out of the Nexus by the crew of the Enterprise-B. Perhaps we can infer from their demeanours that they’re not quite sure where they are or what just happened – maybe that means they’ve just spent time inside the Nexus’ paradise-like realm.
Though the stated size of the anomaly relative to what we saw in Generations may count against it, I like the idea of revisiting the Nexus. Would Discovery bring aboard a Soran-like villain, someone hell-bent on getting to “paradise?” Maybe!
Number 2: The super-synths from Picard Season 1
The super-synths in Picard Season 1.
It’s absolutely true that I also suggested the super-synths could’ve been the cause of last season’s disaster! But that doesn’t mean I’m done suggesting ways for this unnamed faction to reappear in Star Trek, especially considering that the teaser for Picard Season 2 suggested that series is moving away from them.
At the end of Picard Season 1, we learned that there is a race of super-synths that exist somewhere out in deep space – perhaps many thousands of light-years away from the Milky Way galaxy. They offered to come to the aid of any synths that ask for their help, though whether this offer was genuine or not was not clear – as indeed was very little about the faction!
Jean-Luc Picard managed to prevent the arrival of the super-synths, along with Soji.
Soji and Sutra, two of the synths from Coppelius, attempted to make contact with the super-synths, but despite opening a beacon and a portal to their base, Soji was ultimately convinced to shut it down and cut off her attempt to communicate. We thus learned precious little about who the super-synths are or what their objectives may be. They seemed menacing, and may harbour an anti-organic hatred that could make them diametrically opposed to the Federation.
We know that, in principle, this faction can open portals in space to allow for travel far faster than warp drive. Perhaps getting too close to one of their portals causes the kind of damage seen to the USS Discovery, and their portals may appear to be “gravitational anomalies” when detected on sensors. The super-synths clearly have a powerful understanding of gravity, such that they were literally able to move stars and create a stable eight-star octonary system. It’s thus at least possible that they use gravity or gravitational anomalies as some kind of weapon.
One thing that Picard Season 1 left unresolved was the fate of the super-synths. Having been contacted, were they now aware of the Milky Way and the Federation? Might they be hell-bent on attacking the Federation? If their offer of help wasn’t genuine, might they arrive to attack the synths who live in the Milky Way? There are a lot of unknowns, but it’s at least plausible that they could be involved. As I’ve said numerous times, finding a way for Picard and Discovery to work together, using similar themes, factions, or even characters would be fantastic and something truly worth doing. This may not be the way it happens… but it could be!
Number 3: A graviton ellipse
The USS Voyager once encountered a graviton ellipse.
The Voyager Season 6 episode One Small Step introduced the graviton ellipse, a fast-moving anomaly that can travel through subspace, normal space, and even other dimensions. The ellipse was drawn to electromagnetic energy – such as that emitted by spacecraft! One ellipse appeared in the Sol system in 2032, during an early manned mission to Mars, and “swallowed” the Ares IV ship. It later attempted to do the same to the USS Voyager.
The graviton ellipse was smaller than five light-years across, so again we have to contend with size. But there are points in its favour! Firstly, the ellipse was specifically drawn to spacecraft and other future technology. Though we didn’t see it attempt to “eat” anything on a planet’s surface, it stands to reason that similar technologies used in power generation may emit the same kind of electromagnetic radiation that an ellipse would be drawn to.
The Delta Flyer inside a graviton ellipse.
Secondly, the ellipse moved essentially at random, disappearing into subspace to reappear many thousands of light-years away. One single ellipse was known to have visited both the Alpha and Delta Quadrants. This seems to fit with what we know of Discovery’s “gravitational anomaly” – specifically the part Captain Burnham told us about its random, unpredictable appearances.
Finally, the graviton ellipse was known to cause damage to spacecraft, draining their power, as well as gravity-related disturbances in space. An encounter with an ellipse may not have destroyed Ares IV or the Delta Flyer, but they were known to be very difficult to escape from.
The drawbacks of this option are that graviton ellipses were relatively well-understood as early as the 24th Century, and with Discovery Season 4 set over 800 years later, it stands to reason that the Federation would be well-equipped to at least know what they’re up against if an ellipse seemed to be in the vicinity. Secondly, there was no indication that the ellipse would stay in one area, causing widespread damage in the way Discovery’s fourth season teaser suggested. Despite those negative points, however, I think it’s at least a possibility. Perhaps post-Burn technology has drawn an ellipse to Federation space, or it’s even possible that someone has found a way to weaponise one to attack the Federation.
Number 4: The Sphere-Builders from Enterprise
A Delphic Expanse sphere.
Discovery’s third season had a couple of interesting references to Enterprise, specifically the “Temporal Cold War” arc. One faction involved in the Temporal Cold War were the so-called Sphere-Builders: extradimensional beings who were attempting to convert part of the Milky Way galaxy to match their native realm so they could colonise it.
Though the time-travelling agent Daniels told Captain Archer that the Sphere-Builders were definitively defeated in the 26th Century, Daniels was from a time period before Discovery Season 4 is set, so he may not have been aware of any future involvement they had in galactic affairs!
Captain Archer looks at a projection of spheres in the Delphic Expanse.
The Sphere-Builders, as their name implies, built spheres. These moon-sized objects were spread throughout a region of space known as the Delphic Expanse, and emitted huge amounts of gravimetric energy, causing the entire region to become unstable and peppered with anomalies.
The spheres were also able to cloak, concealing them from 22nd Century human and Vulcan ships. The region of space a single sphere could affect was huge, and in the mid-22nd Century there was a large network of them, perhaps consisting of over 75 individual spheres. A hidden anomaly-generating piece of technology with a connection to the Temporal Wars? That sounds like something that could cause the problems afflicting Captain Burnham’s ship as seen in the teaser!
If a rogue sphere were on the loose, if the Sphere-Builders were returning, or if a single sphere had been left in the Milky Way, forgotten about since the 22nd or 26th Centuries, it stands to reason based on what we know of them that it could be the cause of the “gravitational anomaly.” This concept is potentially interesting; a leftover “doomsday weapon” unattended for centuries could make for a fun story. It would also be great to see a tie-in with Enterprise!
Number 5: Tyken’s Rift
Data explains how a Tyken’s Rift works to the crew of the Enterprise-D.
A Tyken’s Rift was mentioned in the Picard Season 1 episode Nepenthe, but before that one had been seen in more detail in The Next Generation fourth season episode Night Terrors. It was described as a rare spatial anomaly, one capable of encompassing entire star systems.
Unlike some of the other entries on this list, size isn’t a problem for a Tyken’s Rift! If a whole binary star system (i.e. a system with two stars) was able to fit inside, it’s more than possible such an anomaly could be five light-years in diameter!
A Tyken’s Rift was mentioned by Kestra Troi-Riker in Picard Season 1 last year.
The Enterprise-D wasn’t badly damaged by its encounter with the rift, but it was trapped inside and unable to escape. The Tyken’s Rift was also said to drain power, trapping ships inside. Perhaps the damage to the USS Discovery was not caused by the anomaly itself, but by pushing the ship past its limits trying to escape?
The drawback to a Tyken’s Rift being the cause of Discovery’s anomaly is twofold. Firstly, aside from a slow but steady power drain it didn’t seem to be harmful, and we saw nothing in Night Terrors to suggest this anomaly could or would cause catastrophic damage to a ship. And secondly, the Tyken’s Rift that the Enterprise-D encountered appeared to be stationary. It was even included on stellar maps, so it would be easily avoided.
I don’t think either of these points totally rule it out, and as one of the relatively few named anomalies in Star Trek that are massive enough, it seems fair to still include a Tyken’s Rift as a possibility.
Number 6: Species 8472 and Fluidic Space
A member of Species 8472.
One of Voyager’s most interesting adversaries was Species 8472, known only by their Borg designation! This powerful extradimensional faction were able to outwit even the Borg, fighting a very successful war against them for a time.
Species 8472 were native to a realm filled with an organic compound. Voyager’s crew named this region “fluidic space,” and it seemed as though Species 8472 based much of their technology on this organic material, including their spacecraft.
The USS Voyager being pulled toward a fluidic space portal.
The Borg became aware of fluidic space some time in the mid-late 24th Century, and attempted to travel there and assimilate it. But Species 8472 proved resistant to assimilation, and waged a war on the Borg, eventually travelling through to normal space to continue the fight. The intervention of the USS Voyager gave the Borg an advantage, but it seemed shortly thereafter as though the war ground to a stalemate.
Species 8472 made one further incursion, but after an agreement with the USS Voyager, agreed to return to their own dimension, content that the Federation proved no threat. However, that was 800 years ago! A lot can change, and perhaps Species 8472 have decided to make a return.
This would change the “natural disaster” concept, making it perhaps a precursor to invasion. Whether that would be good or not depends on how well it was executed – as well as your personal preferences for storylines! Given what we know of Species 8472 and their technology, I think it’s at least possible they could be the cause. Perhaps Stamets’ anomaly is some kind of gateway to fluidic space.
Number 7: The Borg
Borg drones seen in First Contact.
On the other side of the war with Species 8472 were the Borg! I also suggested Star Trek’s iconic cybernetic villains as a possible cause of the Burn last season, and despite seeing some ex-Borg in Picard Season 1, we haven’t really seen the faction proper in Star Trek since Enterprise Season 2 in 2003. Perhaps now is the right time?
Borg technology outpaced the Federation in the 24th Century by a considerable margin, and I’ve seen nothing to suggest that wouldn’t continue to be the case. The anomaly Stamets and Burnham discussed in the teaser may well be a natural phenomenon, but if it turns out to be a weapon, I can think of few other factions capable of creating and wielding one so massively powerful. Other Borg technology, such as their transwarp network, was known to have gravitational effects as well, so perhaps that’s another sliver of evidence.
The Borg were known to possess powerful technology.
This doesn’t really fit with the Borg’s usual modus operandi, and that is certainly a mark against it! But then again, the Borg are very adaptable, and travelling back in time several centuries is not exactly standard procedure for assimilating a planet either, yet that’s what they tried to do in First Contact! The gravitational anomaly could be the opening salvo of an attack; the artillery barrage to soften up the Federation before the Borg drones rush in to assimilate the survivors. The Borg certainly seem capable of doing something like this, and with the Federation having been on the back foot for more than a century as a result of the Burn, the Borg may have been using that time to build up and prepare for a large-scale invasion attempt.
We don’t know for sure if the Borg are still around in the 32nd Century, or if they still hope to one day conquer and assimilate the Federation. After more than 800 years, anything could have happened to them! However, it’s plausible that they still exist in similar form to how we last saw them.
The anomaly seemingly “attacking” both Federation and non-Federation targets could be indicative of an intelligence at work behind it. Space is huge after all, and the chances of it hitting a target as small as a starship, starbase, or planet regularly seems unlikely without some kind of explanation. Is it a force of nature drawn to energy, like the graviton ellipse mentioned above? Or is it a Borg weapon deliberately targeting Starfleet? The latter may seem unlikely, but it’s not impossible!
Number 8: The Burn
The Burn.
I certainly hope that Discovery Season 4 doesn’t just drop the Burn and proceed as though it never happened. After the cataclysm caused huge disruption to the Federation and the wider galaxy for over a century, I think we need to see a lot more of the consequences of that event before we even consider a “reset” of the Federation!
Perhaps what this anomaly will be is some kind of “mini-Burn,” affecting a smaller area. It could be a ripple effect of the original event, or otherwise connected to it in some way. Hopefully it won’t be caused by poor Su’Kal, who’s been through enough over the last 125 years! Though the Burn was presented as a unique event, perhaps it had lingering effects that are only just becoming known.
Su’Kal caused the Burn.
Season 4 needs to walk a line between acknowledging the events of Season 3 without dwelling on them the whole time. I understand that the writers and producers have other stories to tell in the 32nd Century beyond the Burn, but given how catastrophic it was I feel strongly that we need to see at least some of its lingering impact. Connecting the Burn to this new problem would create a degree of separation, allowing the season to go in new directions but without dropping the massive event entirely.
The Burn was a disaster which “caused dilithium to become inert,” and which caused active warp cores to explode. It wasn’t known to have gravitational effects, instead being some kind of shockwave that travelled through subspace. That could certainly count against it!
However, if this event were connected to the Burn in some other way, rather than being a direct result of Su’Kal’s outburst, perhaps it could be explained. I couldn’t even guess how such a connection could be made; it would be some kind of technobabble connecting the anomaly to dilithium and/or subspace. But it could be done, and it could be made to fit!
So that’s it. Eight very early theories about Discovery Season 4 and the mysterious “gravitational anomaly!”
Yes, Season 4 is scheduled to premiere this year!
As mentioned at the beginning, I quite like the idea of the series going down a “natural disaster” route, allowing the crew to solve a puzzle and unravel a mystery, rather than simply pitting them against a Federation-threatening adversary. Perhaps that will be what ultimately happens, but I think it’s at least possible we’re seeing some kind of attack or weapon as well. Time will tell!
The teaser was action-packed, and the new season looks to be in great shape. I think that there are possible downsides to another “huge galactic disaster” storyline so soon after resolving the Burn, in that it risks feeling tacked-on, derivative, or even anticlimactic if it’s an event smaller in scale. But despite that, if this anomaly is going to be one of the main storylines in Season 4, there’s a huge amount of potential.
Star Trek’s past didn’t provide the key to understanding the Burn last season. Will something we’ve seen before come into play in Season 4? Maybe!
Star Trek: Discovery Season 4 will debut on Paramount+ in the United States, and on Netflix in the United Kingdom and elsewhere, sometime later this year. Star Trek: Discovery Seasons 1-3 are available to stream now. The Star Trek franchise – including Discovery and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1, Star Trek: Lower Decks Season 1, Star Trek: Discovery Seasons 1-3, and most importantly, there are spoilers (including images) from the teaser trailers for Picard Season 2, Lower Decks Season 2, and Discovery Season 4. There are also spoilers for Prodigy.
Yesterday was “First Contact Day” – the 5th of April is the day in 2063 when humans made first contact with the Vulcans, as depicted in Star Trek: First Contact. We’ve seen the event celebrated within Star Trek on a few occasions, and apparently one dish often served is salmon! But we’re off-topic already.
The creative team in charge of Star Trek set up First Contact Day as a digital event, somewhat akin to last year’s Comic-Con @Home presentations, and other similar events that they’ve done periodically. It was marketed on social media, particularly on Facebook and Twitter. But it wasn’t 100% clear how fans were supposed to access the virtual panels – whether they were just going to be available on the website, on social media directly, or even via Paramount+. Even navigating to the right part of the Star Trek website took clicking through several links.
It wasn’t exactly clear how to get to this web page.
That confusion was entirely self-inflicted and clarifying it would have been easy to do. It was almost as if the social media/website teams were making watching the panels “live” – they were actually pre-recorded – as difficult as possible. Thankfully all five of the panels were later made available on YouTube (vital for me, so I could go back and take screenshots!) But while we’re complaining about Star Trek/Paramount+/ViacomCBS’ social media, if you want to watch the full panels on YouTube I advise you to do so fast – in the past, some Star Trek videos, including one of the trailers for the first season of Picard and last year’s Comic-Con panel I mentioned earlier, were taken down by YouTube’s copyright protection algorithm. Hopefully that won’t happen this time, but it’s worth keeping in mind the possibility.
One of the pre-event social media posts was really tantalising and very well put-together. A “teaser” clip of a viewscreen which briefly flashed up two numbers – that looked like map coordinates – got a number of Trekkies talking and speculating, successfully building up a degree of hype for the First Contact Day event. In 2021, this kind of audience engagement via social media is vital for any franchise, and I’m glad to see Star Trek at least making an attempt!
What looked like the bridge of the USS Discovery…
…and the mysterious numbers!
So let’s start with the big news!
We got teaser trailers for Lower Decks Season 2, Picard Season 2, and Discovery Season 4! In addition, we got to see the design for Captain Janeway in Prodigy. Each of the panels gave us a few clues and tidbits of information about these upcoming Star Trek projects, which was fantastic.
The mysterious numbers mentioned above did in fact turn out to be coordinates – for a convention centre in Chicago! Star Trek: Mission Chicago is going to take place in April 2022, and will be the first in-person convention since the coronavirus pandemic hit. Perhaps it’s because I was never going to be in attendance, but I’m not sure the convention was the strongest way to end the First Contact Day event. It was saved for the last moment by co-hosts Wil Wheaton and Mica Burton, and it just felt a tad anticlimactic after an event that had seen so much other exciting news.
For me at least, this wasn’t the strongest way to end the entire broadcast.
With so much going on, and so many amazing reveals, it’s hard to know what to talk about first! Let’s start with Prodigy, since the newly-revealed image of Captain Janeway is probably going to be seen as First Contact Day’s most iconic takeaway. While there was no trailer or teaser for the series, which I admit I had been half-hoping for, we did get a bit more information.
The series is set several years after Voyager, at roughly the same time as Lower Decks, in the 2380s. And the reason why none of the aliens we saw in the first teaser image a few weeks ago look familiar is because the show is set in the Delta Quadrant. The aliens are (presumably) all Delta Quadrant natives who are, according to the show’s creators, totally unaware of Starfleet or the Federation.
The new Captain Janeway design for Prodigy.
The version of Captain Janeway that they encounter is a “training hologram” that has been left behind on some kind of training vessel, presumably by the USS Voyager as it passed through the Delta Quadrant. This is the abandoned Starfleet vessel that had been mentioned in the show’s original description.
The design of Janeway is just fantastic. Modern Star Trek has not been shy about changing up classic designs, but Janeway retains her Voyager-era uniform and combadge, and the design manages to blend the way she looked in the show with a CGI-cartoon aesthetic just perfectly. Looking at her, you know immediately who she is! I honestly cannot fault the design, and I can’t wait to see her in action along with the new crew.
The rest of the Prodigy crew.
The premise of Prodigy has now fully taken shape. The setting has been laid out and the crew assembled. Now all we’re missing is the ship itself! Could that be the Delta Flyer?
The creators of Prodigy talked about how the new series will be great fun for kids, stimulating their imaginations and creativity. Both words, “imagination” and “creativity,” came up several times during the panel, and it sounds as though they’re really pushing hard for Prodigy to be something more than just background noise or brainless entertainment. The best kids’ shows do this, and as a result have a lot to offer kids and adults. There was a mention that Prodigy is for “all ages,” which is great!
Finally, Prodigy promised a number of surprises and connections to Star Trek’s broader canon, both of which I like the sound of! There was a hint that one of the characters we saw in the teaser image has a connection to The Original Series; my first guess was the rock-like alien perhaps being a Horta, as that was something I guessed at when I first saw the image. But we’ll have to wait and see on that!
Could this character be related to the iconic Horta?
So that was Prodigy. Since we’re looking at animation, let’s move on to Lower Decks next.
Creator Mike McMahan was involved in a panel that looked at Star Trek’s sense of humour. Considering how many “critics” attacked Lower Decks before it was broadcast for being an un-serious take on Star Trek, I think it was worthwhile to remind people that humour has been a huge part of the franchise going all the way back to The Original Series. McMahan in particular noted the interactions between Kirk, Spock, and Dr McCoy as being a great example of this.
The panel concluded with the aforementioned Lower Decks Season 2 teaser, and in a scant few seconds there was a lot going on! Here are just a few of the things I noticed: Rutherford’s implant is back, meaning his design remains unchanged despite the events of the Season 1 finale. Boimler, as promised, remains aboard the USS Titan, though his posting doesn’t seem to be going well!
Lieutenant Boimler doesn’t seem to be having “the time of his life” on board the USS Titan!
Jonathan Frakes will return as Riker, which we had assumed but hadn’t been confirmed. At one point, Mariner wore what looked like the anbo-jyutsu armour from Season 2 of The Next Generation – something Riker wore once in that show. A Miranda-class ship was briefly shown. And finally, there was a sequence in which Mariner appeared to be fighting several Cardassians!
There’s a lot to digest in just those few seconds, and taken out-of-context it’s hard to be sure of what’s going on! What we didn’t see was Boimler interacting with the other three main characters, and perhaps that’s to keep his fate a secret. Or perhaps it’s indicative of the fact that he will remain aboard the USS Titan for several episodes!
Ensigns Tendi, Rutherford, and Mariner in the Lower Decks Season 2 teaser.
Lower Decks Season 2 looks to be coming together nicely, and there was a lot shown off in the teaser that seems to be from quite a few different episodes. We now know that Lower Decks Season 2 will premiere on the 12th of August, which is pretty much one year after Season 1’s debut! So that’s fantastic news, and it means we’ll get at least some Star Trek this year!
Discovery’s fourth season is also scheduled for 2021, though no date was confirmed. After an interesting panel which focused on Nichelle Nichols and a documentary that has been made about her and her work and influence over women at NASA called Women In Motion, Sonequa Martin-Green introduced the first Season 4 teaser trailer.
The Women In Motion panel.
Before we look at the teaser in depth, I enjoyed the Women In Motion panel. One point that came up is the value of representation, which was something Michelle Hurd (Star Trek: Picard’s Raffi) discussed at length. Representation matters in entertainment, and I’ve had an essay in the pipeline on that very subject for a while. One of these days I’ll get it finished!
On to the teaser trailer. The first thing to note is that Discovery’s uniforms have been changed. The grey design appears to have been retired in favour of a more colourful look – the basic layout of the uniforms appears to be very similar, but the colours have changed. This is something I predicted a few weeks ago, and I look forward to seeing more of the new uniforms at some point soon; it’s difficult to assess them fairly from a few short scenes in a teaser!
Owosekun and Burnham sporting the redesigned, more colourful uniforms in the Season 4 teaser.
After the Burn in Season 3, it seems as though Discovery is returning to another “natural disaster” concept in Season 4. An “anomaly” described as being five light-years in diameter seems to be threatening both the Federation and other worlds, perhaps meaning there will need to be some working together to figure out a solution.
After Seasons 1 and 2 both ended up being about fighting and had major villains to defeat, it was a nice break for Discovery to largely have to deal with a scientific problem in Season 3, so I think the same concept could work well again. I just hope that it doesn’t end up feeling either repetitive, as though copying the Burn, or anticlimactic, coming after the galaxy-wide catastrophe and simply not being as impactful.
Damage to the USS Discovery in the Season 4 teaser.
When I heard talk of a gravitational anomaly that was several light-years wide, my first thought was the Nexus, as seen in the film Generations. That “energy ribbon” was known to be able to damage starships and even planets, and though we didn’t see any evidence of the Nexus, perhaps it could be the cause of this strange anomaly?
It looks as though the USS Discovery takes a beating in Season 4, and may even end up destroyed or irretrievably damaged! At one point, Burnham was the sole figure on the bridge and had to wear a helmet, presumably because of the extent of the damage suffered by the ship. Though the uniforms have been redesigned, I didn’t see any significant changes to the internal design of the USS Discovery itself, which is something I think would be nice to see now they’re established in the 32nd Century.
Burnham in some kind of armour or space suit in the Season 4 teaser.
It was great to see Cleveland Booker back, and it seems as though David Ajala will be back as a regular cast member for the show. Book was such a fun character in Season 3 that I’m thrilled he’s back. He wasn’t in a Starfleet uniform, so it seems as though he’s keeping his status as an outsider. That worked well in Season 3, so why change what works?
Lieutenant Detmer appears to have upgraded her cybernetic implant! We saw at least one glimpse of a scene in which the USS Discovery appeared to lose artificial gravity, which is something rarely seen in Star Trek. We saw the return of the President of Ni’Var, who appeared in Season 3, as well as the debut of a new character who seems to be a Federation official.
At one point, the ship appears to lose its artificial gravity!
Saru was shown briefly, and looks to be in some kind of diplomatic or ambassadorial role based on the few seconds he was on screen. We also saw one other Kelpien, a couple of unknown aliens, and Burnham once again talking about togetherness and unity as ways to tackle the threat they all face – presumably this anomaly. And most importantly: Grudge is back!
So all I can think to say is “wow!” Discovery Season 4 looks action-packed to say the least! We didn’t see either Admiral Vance or Kovich; the latter we know is returning but I certainly hope Admiral Vance will be back as well. Oded Fehr’s performance in Season 3 was fantastic, and it’s wonderful to have a Star Trek admiral who does what’s right and isn’t an adversary; it makes a nice change!
The USS Discovery was also briefly glimpsed in the Season 4 teaser.
Based on what we saw, Discovery Season 4 looks fantastic, and getting confirmation that it’s aiming for a 2021 release is great news as well. Though no date was given, at this stage I would assume (alright, guess) that we’ll see something of a repeat of last year, with Lower Decks running from August to October, and Discovery Season 4 picking up sometime in mid-October; certainly before Halloween. It would then run through the autumn and winter before concluding sometime in the New Year. That was 2020’s pattern, and with Lower Decks scheduled for August, I think we can reasonably guesstimate that the same thing will happen this year as well.
That brings us to Picard, which was one of the first things we saw! The Picard Season 2 teaser was totally unlike the Lower Decks and Discovery teasers, being comprised of no filmed scenes and featuring no characters – which makes sense, given how early in production the season is! Despite that, however, in the short teaser we actually got a lot of information – or possible information – about what might be going on!
A model of the USS Stargazer in the Season 2 teaser.
Firstly, time travel appears to be involved. Specifically, travelling backwards in time. This was represented by an hourglass running in reverse. We also saw the teaser linger very prominently over a model of the USS Stargazer – Picard’s first command. There was also a glimpse of Paradise Lost, an epic poem about falling from grace and the rejection of God. I’m sure that’s a tease at something… but what? Then we got the biggest bombshell of the entire teaser: Q is returning!
John De Lancie, who plays Q (and who recently appeared in Lower Decks) joined Wil Wheaton and Sir Patrick Stewart to confirm Q’s return, and it was great to see him back! The combination of time travel plus Q seems to make for an interesting setup to the new season!
John De Lancie will reprise his role as Q in Picard Season 2!
The USS Stargazer was under Picard’s command for more than twenty years, seemingly from the 2330s to the 2350s. Having spent so much of his life aboard the ship, revisiting it makes a lot of sense for the show! It’s also an almost-blank slate, as aside from a few references and lines here and there across The Next Generation, the Stargazer’s exploits are largely unknown. We do know that the ship was involved in the Cardassian Border Wars, and that Jack Crusher served aboard the ship before being killed. In voiceover, Picard talked about time being the real “final frontier,” and about the desire to do things differently.
A couple more hints about the storyline and Q’s involvement came in the panel which followed. Sir Patrick Stewart made a couple of references to Q appearing in an “episode” using the singular, so perhaps Q will be back for just one appearance! It doesn’t sound as though Q caused whatever time-related event is happening, which is also a point of note.
The very creative way Q’s involvement was announced!
Q’s arrival was said to come at a “shattering moment” – perhaps the moment that time shattered? Or perhaps a moment in which Picard feels traumatised, as Sir Patrick Stewart and others made reference to Picard being “traumatised” both by his past and whatever is going on in the new season.
There seemed to be a hint that Picard may visit more than one time period, as well as Jonathan Frakes’ inclusion suggesting that Riker may make a reappearance in Season 2 as well. My first thought, putting all of these elements together, is some kind of follow-up to the events of All Good Things, the finale of The Next Generation. In that story, Q allowed Picard to move between three time periods in order to solve a puzzle – events in the future were having a causal effect on events in the past! Perhaps some kind of similar “anti-time” story is on the cards?
An hourglass running backwards was one of the key visuals in the teaser.
Q appeared in the first episode in which we met Picard – Encounter at Farpoint right at the beginning of The Next Generation’s run. As I said once, it would be poetic if he were also to appear in the episode – or at least the season – which marks Picard’s end as a Star Trek character as well. Though a third or even fourth season of Picard was said to be there for the taking if Sir Patrick Stewart wanted to do it, I wonder if Q’s inclusion in Season 2 may mean that it will be the last season of the show – and may even see Picard killed off.
That’s pure speculation on my part, though!
With production having only been going on since late February, I’m not surprised that Picard didn’t have more to show at this stage. It seems certain we won’t see Season 2 before next year, and that’s actually okay! As excited as I am to continue the journey, we’ll have plenty of Star Trek to get stuck into later this year.
What relationship will Paradise Lost have to the plot?
So that wraps up my thoughts on the three teasers (plus one image) that we got during yesterday’s First Contact Day event. Before we go, though, I want to talk briefly about the other panels.
This year is the 25th anniversary of Star Trek: First Contact (gosh I feel old now, as I remember seeing it at the cinema!) There was a panel hosted by Wil Wheaton that featured Sir Patrick Stewart, Jonathan Frakes, Brent Spiner, and Alice Krige – the actress who played the Borg Queen in that film. It was a very sweet panel, as all the participants had fond memories of working on the film.
Krige in particular spoke very highly of working with the cast of The Next Generation, and being welcomed aboard by a team that had been working together for almost a decade at that point. There were some lighthearted moments too, as Frakes was quizzed over his “Two Takes Frakes” nickname! It was a lot of fun, and it’s nice to see that, even after so many years, the cast still enjoy one another’s company.
The Star Trek: First Contact 25th Anniversary panel.
The only panel I haven’t touched on yet was that hosted by Mica Burton in which several designers and artists participated. It reminded me of a book I own called Aliens and Artifacts which similarly looks at makeup, uniform design, prosthetics, and so on, and how all of those things are created by artists behind the scenes.
It’s always interesting to learn a little more about how these things work, and it was neat to hear from some of the folks who have been involved with designing new aliens, new uniforms, and other aesthetic elements that go on to be iconic and emblematic of Star Trek.
The artists’ panel was interesting.
So that’s it! First Contact Day was interesting, and we got to learn a lot about upcoming Star Trek projects! The return of Q in Picard Season 2, as well as a time travel story, sounds interesting. Discovery Season 4 looks to be playing up the strengths of Season 3. And Lower Decks looks like another wacky good time! It was great to see Captain Janeway’s design in Prodigy, as well as learn a little more about that series. Though I hoped to find out when it will debut or even see a trailer, I’m content to wait and let the creators get it ready first!
I had fun with First Contact Day, and I encourage you to check out all of the panels in full if you haven’t already. At the very least, watch the teasers for yourself! You can find all of the First Contact Day panels by clicking or tapping here to go to the Paramount+ YouTube channel.
The Star Trek franchise, including all properties mentioned above, is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Well that didn’t take long! The first major television drama about the coronavirus pandemic was announced recently, and is currently scheduled to debut on Sky here in the UK next year. But surely, with coronavirus still raging as the series is being filmed, it’s far too soon for this kind of show. Isn’t it?
This Sceptred Isle is billed as an examination of the UK government’s response to the “first few months” of the pandemic. And in many ways, such a story is worth telling. The UK government did not handle the pandemic’s arrival particularly well, being slow to put measures into place that were already being taken by other countries, in particular Italy. As a result, the UK’s per capita death toll has been higher than many comparable western nations, and despite the success of the vaccine rollout – I got my first dose of the vaccine last month – that remains a stain on the government’s handling of the pandemic.
Promo picture of Kenneth Branagh as Boris Johnson in This Sceptred Isle. Picture Credit: Sky TV.
But something about This Sceptred Isle just rubs me the wrong way. It feels like it’s in incredibly poor taste to create a fictionalised drama series based on something so significant and that has cost so many lives while it’s quite literally still raging on. Not to mention that planning for the series, writing scripts, hiring producers, and so on must’ve been going on for months already – pre-production on any show takes time, and for This Sceptred Isle to have begun filming at the end of February it must’ve been conceived at the latest by last summer, with plots and storylines already prepared.
What I fear will be the case is that the series will have an axe to grind, and rather than making any real attempt to faithfully retell the events of the early weeks and months of the UK’s pandemic response, it will instead descend into a farcical and utterly fictitious portrayal of Prime Minister Boris Johnson and his government. I’m not a political person, and the electoral fortunes of Mr Johnson are not my concern. But a series like this presents itself as factual, or at least fact-based, and I seriously question how it can be.
This Sceptred Isle is being produced by British satellite broadcaster Sky TV.
No major government figure has broken ranks since the pandemic began to tell “their side of the story.” Actual verifiable information of what went on behind closed doors in Downing Street in the first half of 2020 doesn’t exist; at best This Sceptred Isle will be based on hearsay. When a series is trying to bill itself as having at least a basis in fact, that’s not acceptable.
One of my favourite miniseries of the last few years was HBO’s Chernobyl. Like This Sceptred Isle, Chernobyl took a factual event – the 1986 Chernobyl nuclear disaster – and dramatised it for television. As I noted once, some pretty significant changes were made, including the creation of a fictional “composite” character. However, the events surrounding the Chernobyl disaster were well-established by 2019, with books written about the subject, involved persons having given frank first-hand accounts of what took place, and decades of historical analysis of the precise details of the disaster and its consequences for the creative team at HBO to draw on. The result was one of the best pieces of television made in the last few years, and something which is as accurate as can be for a dramatic work.
HBO’s Chernobyl earned widespread acclaim… but was produced years after the events it depicted.
All of that was possible because of the series’ distance from the events it depicted. Almost a quarter of a century had passed since the Chernobyl nuclear disaster, and the passage of time allowed for more information to be available, making the show more accurate. This Sceptred Isle is filming now, right in the middle of the pandemic. Despite some signs of progress in some parts of the world, the pandemic is not dying down nor going away, and we can’t say what the state of affairs will be in six weeks or six months from now, let alone by the second half of next year. That context is crucial to a series like This Sceptred Isle, and will be entirely absent from the production.
How we reflect on the pandemic’s early days will depend entirely on what course it takes over the remainder of this year and into next year. Will it die down with the rollout of vaccination programmes across the world? Or will it adapt, flare up, and continue to wreak havoc? Without knowing the answer to that question, This Sceptred Isle may very well end up on the wrong side of the argument, either being overly-critical of a government that did its best, or by being too lenient in retrospect. It’s an impossible line to walk without knowing what happens next.
This Sceptred Isle aims to look at Prime Minister Boris Johnson’s handling of the pandemic – but the pandemic (and his handling of it) are still ongoing.
In short, This Sceptred Isle is trying to produce a television series based on an unfinished story. We don’t yet know how or when the coronavirus pandemic will end, nor what all of the consequences will be. There will be political fallout from it, that’s all but certain. But without knowing which way to lean, without crucial information that won’t be heard in public for several years at least, the show will be little more than straight-faced pantomime, stabbing in the dark trying to tell a compelling story without the necessary facts or information to do so.
If its objective is to criticise the government and convince people not to support them, maybe the creative team will consider This Sceptred Isle a success. If they don’t care about creating a fact-based depiction of events to begin with, they naturally won’t be bothered by such criticism. But blindly attacking the government at a dangerous moment is not a good thing, and I’m concerned that if This Sceptred Isle is nothing more than a teardown of everything the government has done, it will have implications for the country. If we’re in a position when the series is broadcast where more vaccinations are needed, or where there are still some rules or restrictions in place, a savage attack on every aspect of the government’s handling of the crisis could lead to people ceasing to abide by the rules or become unwilling to get vaccinated.
Could there be unintended consequences if This Sceptred Isle goes too far in its attacks on the UK government?
I’m positive that there was a mad rush on the part of television producers to be the first to make a major drama series based on the pandemic, and Sky jumped the gun and managed to get in ahead of everyone else. But in this case, patience may be a virtue. If This Sceptred Isle is shown to contain scenes which are demonstrably false, that will harm its reputation and damage Sky’s brand.
A series like This Sceptred Isle is important and necessary – but not yet. Right now it’s too soon, and with people still sick and dying both in the UK and around the world, it seems aggressive and downright ghoulish to try to dramatise the pandemic for money. Not only that, but because of the lack of clear and verifiable information about what’s going on in the real world, the series will be inaccurate at best – and completely and utterly wrong at worst. Maybe that’s what it’s designed to be; Boris Johnson and his Conservative Party are not well-supported in the entertainment industry as a whole, and this could simply be a way to attack them. But when the entire offering is based around telling a story grounded in the truth, that’s not good enough.
Art and entertainment will dine out on the pandemic in the years ahead. There are so many different kinds of stories that can be told about it, from the exciting and tense to the wholesome and sweet. Some projects can be timely, considering the effects of things like refusal to wear a mask or vaccine hesitancy. But a project like This Sceptred Isle, with its inclusion of characters based on real people and claiming to depict real events, comes at the wrong moment. It’s too soon – and that makes it feel as though it’s in very poor taste.
This Sceptred Isle will be broadcast on Sky Atlantic and NOW TV in the UK in “Autumn 2022.” International distribution has not been announced at time of writing. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I’m not a religious person, and thus Easter has never been an especially important time of year for me. As a kid, Easter meant two weeks off school and chocolate eggs. And as an adult, Easter means a long weekend… and chocolate eggs. That’s about all. But as someone who grew up in England and was frog-marched into church with other schoolkids – back in the days when every school was bound to the local church – I gained a passing familiarity with the holiday. Because I don’t enjoy hot weather, late spring and summer are my least-favourite times of year! Easter, as the event which signals the beginning of that time of year, has always felt at least a little unwelcome as a result, even if the abundance of chocolate serves as a suitable bribe.
But enough about my weather preferences! It’s Easter, and aside from chocolate, Easter means one thing: Jesus. Jesus of Nazareth was crucified, of this even non-Christians widely agree. Sometime between AD 30 and AD 40, Jesus was executed by Roman authorities in the province of Judea, and his resurrection three days later is what Christians celebrate at Easter. Jesus’ life and death have been depicted countless times in art and entertainment, and this time I thought it could be interesting to briefly look at a mid-century example: the 1961 film King of Kings.
The film’s opening title.
The title of this article promised you a Star Trek connection – since the Star Trek franchise is one of my biggest fandoms and a subject I write about often here on the website! The lead role in King of Kings is, naturally, the character of Jesus. In this case, Jesus is played by Jeffrey Hunter – better-known to Trekkies as Captain Christopher Pike, the original captain of the USS Enterprise.
Hunter’s life was tragically cut short, and he died aged only 42 following a fall that may have been caused by a stroke. Though he’s well-remembered today for his single Star Trek appearance – even more so since footage of him was incorporated into Season 2 of Star Trek: Discovery – he was a prolific actor in the 1950s and ’60s, appearing in films like Fourteen Hours alongside Grace Kelly, and The Searchers with John Wayne. He also appeared in a number of television roles, including in big ’60s shows like The FBI and Daniel Boone.
If you’re familiar with Star Trek’s early production history, you’ll recall that Hunter declined to reprise his role as Pike for the show’s second pilot, opting to focus on cinema instead. By the time The Menagerie was made – the two-part episode which reused most of the footage from the show’s first pilot – Hunter was unavailable, leading to the character of Pike being recast and creating the iconic disfigured, wheelchair-bound look.
But all of that is incidental! King of Kings was released in 1961, four years before Hunter would meet Gene Roddenberry and agree to work on Star Trek. The film received mediocre reviews, but was considered a box office success for film studio MGM. And having seen it for myself a few years ago, it was certainly an interesting experience!
Jeffrey Hunter as Jesus in King of Kings.
This was my first time seeing Jeffrey Hunter outside of The Cage – at least, that I’m aware of. Though he’s slightly younger and sports both Jesus’ typical long hair and beard he is recognisable in the role, and that was certainly something neat to see.
The film itself is typical mid-century fare. As I think I’ve explained on more than one occasion, the early 1960s is about as far back as I’m willing to go for most films and television shows, simply because the quality of practically every aspect of production declines more and more the further back in time a film or series was made. Early cinema holds an interest from an academic point of view – the way techniques were developed, how different genres came into being, how technologies were first pioneered, and so on – but I find that actual entertainment value, and my ability to get lost in a production really cannot survive the wooden sets – and wooden acting – of early cinema!
A Roman scene in King of Kings.
King of Kings falls into this trap at points, with some sets and backdrops being pretty obviously fake, and the general acting style being in line with other projects of its era. But it’s perfectly watchable despite those shortcomings.
The film aimed to be an “epic,” recreating the magic of earlier Biblical epic films like 1956’s The Ten Commandments, and of course Ben-Hur, which was released in 1959. Even the film’s poster imitates Ben-Hur’s visual style. I don’t know if I’m the right person to compare these films for you; all are roughly equal in terms of being watchable for me, with similar drawbacks that I find with films from this time period. What we can say, though, is that King of Kings is probably less well-remembered than the other two, with Ben-Hur in particular being widely considered a classic.
Hunter as Jesus of Nazareth at the film’s climax.
The story of Jesus’ life and death has been recreated in cinema on a number of occasions. The 1912 film From the Manger to the Cross is the earliest one I could find, and in the century since there have been countless others. One of the best-known in recent years is Mel Gibson’s epic The Passion of the Christ, which is a pretty gory and harrowing watch in parts – deliberately so. And who could forget Monty Python’s Life of Brian, a parody of the Bible story?
King of Kings fits somewhere in the middle, the kind of film I’d never choose to watch but for the combination of its Star Trek connection and the holiday we’re celebrating today. It’s a curiosity rather than something I could recommend for pure enjoyment, but if you’ve seen other, better-known depictions of the life and times of Jesus, King of Kings might’ve slipped under the radar. It’s worth a look if that’s the case!
Even for non-Christians, the basic message Jesus of Nazareth preached is worth listening to. Being kind and treating others with respect is something we can all aspire to, especially in today’s politically divided, pandemic-riddled world. King of Kings, like many Bible films, hammers that message home in what is, at times, a ham-fisted way. But the message itself is still worth paying attention to, and for one day a year, we can take a moment to appreciate that.
King of Kings is out now on DVD and Blu-ray, and may also be available to stream depending on location. King of Kings was directed by Nicholas Ray and may be the copyright of Metro-Goldwin-Mayer and/or MGM Holdings. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Enterprise, Star Trek: Discovery, and for other iterations of the franchise.
Star Trek: Enterprise is the only series in the franchise to be set in the 22nd Century. As such, it exists semi-independently, with very few opportunities for characters, factions, themes, or storylines to cross over and appear in newer Star Trek projects. As a prequel, many of the characters and events that debuted in Enterprise were not mentioned or referenced in shows that supposedly took place years later – as those storylines had not yet been conceived.
Enterprise thus exists in a strange place in Star Trek’s broader canon. There was a brief mention of Captain Archer in both Season 1 of Discovery and the 2009 film Star Trek, but both were little more than blink-and-you’ll-miss-it affairs.
Captain Archer’s name was briefly seen on a monitor in the Discovery Season 1 episode Choose Your Pain.
I’ve written about this phenomenon before in relation to Star Wars, where I termed it the “prequel problem.” Introducing wholly new story elements in a prequel is a risky storytelling strategy, as not only might it adversely impact the original work (or franchise, in this case) but it could also cut off the prequel in terms of story, isolating it and making connections with the original work difficult.
While Enterprise managed to avoid most of the pitfalls that befell the Star Wars prequel trilogy, one area where I feel the “prequel problem” is noticeable is in terms of two of the main antagonist factions the show introduced: the Suliban and the Xindi.
A Suliban…
…and two of the five extant Xindi races.
Both factions played significant roles in Enterprise across its first three seasons in particular. The Xindi, it could be argued, became one of the key driving forces in the expansion of Starfleet, leading to early deep-space exploration and allowing Starfleet to hone many of the skills and technologies it would use in future missions of exploration and discovery.
The attack by the Xindi on Earth was also a significant moment, one which history should preserve for future generations of Starfleet officers and Federation citizens. While some of the events of the Temporal Cold War (or Temporal Wars, as Discovery called them) may have arguably been classified, the existence of the Suliban clearly was not, and both factions could – and almost certainly should – still be around in the 23rd, 24th, and 32nd Centuries.
The Xindi weapon-probe which attacked Earth.
Setting aside the obvious production-side reason that the Suliban and Xindi were created for Enterprise years after The Original Series and The Next Generation went off the air, in order to answer my question of whether we’ll ever see either return we need to consider possible reasons for their absence. In short, is there anything we could point to from an in-universe point of view to indicate why these major factions would have simply disappeared by the 23rd or 24th Centuries?
There are many factions and races seen in Star Trek that have only made a single appearance in the franchise so far, including many that could easily be revisited. The First Federation, encountered in The Original Series Season 1 episode The Corbomite Maneuver, are one example, as are the Sheliak, from The Next Generation Season 3 episode The Ensigns of Command. While we know the Milky Way galaxy is populated by a large number of alien races, some simply choose not to have much contact with the Federation.
The First Federation appeared once in The Original Series and have yet to return to Star Trek.
Location is an issue in this case, though. Enterprise depicted Earth’s first major mission of exploration, and the races encountered in the show – presumably including both the Xindi and Suliban – can’t have been located that far away (relatively speaking). The NX-01 Enterprise had a maximum speed of warp 5, limiting its possible range.
Star Trek has kept many locations and their distances from one another deliberately vague to allow for maximum storytelling leeway, and that’s probably no bad thing. I don’t want to get into the weeds on just this one point, but in short what I’m trying to say is that both the Suliban and Xindi are likely to be much closer to Earth than, for example, Bajor or Talos IV.
The planet Talos IV – a long way from Earth.
We’ve never seen it suggested that the Suliban ever joined the Federation in future, but the Xindi certainly had. Xindi were known to serve in Starfleet by the 26th Century – according to the time-travelling Crewman Daniels – and this further suggests that Federation-Xindi relations existed and grew over the years, even if they didn’t officially join up until centuries later.
In the aftermath of their conflicts with Earth, both of which were due to external manipulation by time travelling factions, it’s possible that both the Suliban and Xindi simply chose to cut off all contact, isolating themselves and maintaining no relationship with the Federation, and this is arguably the most likely in-universe explanation for the lack of appearances in the 23rd and 24th Centuries.
The Suliban Helix – their mid-22nd Century base.
However, it’s still possible that there were accidental encounters out in space, or that the Federation pursued a policy of attempting to reestablish contact and diplomatic relations behind the scenes, even if those attempts were rebuffed. Discovery’s Season 1 premiere gives us an interesting glimpse at how Starfleet handled the reappearance of a faction they had no contact with – let’s hope that second contact went better with the Suliban or Xindi than it did with the Klingons!
Bringing either the Suliban or Xindi into modern Star Trek would be a huge way to connect the ongoing franchise back to Enterprise in a way that hasn’t yet been attempted. I think it’s absolutely worth doing for that reason alone, and in a way, just as Discovery did with the Klingons, the two factions could be changed to fit the needs of a new story.
Degra, a member of the Xindi Council in the mid-22nd Century.
In fact, there’s arguably far greater scope to reimagine both the Suliban and Xindi than there ever was with the Klingons! The Klingons had been thoroughly established across fifty years of Star Trek before Discovery came along, and while the show managed some aesthetic changes (I genuinely loved the ancient Egyptian influence in parts of the Discovery redesign) it was constrained by both past and future depictions of the Klingon Empire. There are two huge reasons why the Suliban and Xindi don’t have similar constraints.
The first is that both the Suliban and Xindi were only seen in the 22nd Century. Depending on which series they were to reappear in, there’s been either a century, two-and-a-half centuries, or an entire millennium for their cultures to have changed, allowing the writers of modern Star Trek to adapt either faction to a far greater degree than the writers of Discovery Season 1 could with the Klingons.
The Klingon redesign was controversial when Discovery made its debut.
Secondly, this will be our first time seeing either faction free of the manipulation of time travelling villains. The changes made by interference in the timeline to both the Suliban and Xindi is impossible to overstate, and after finally freeing themselves from their time travelling benefactors, we simply don’t know what position either faction would be in.
Both of these reasons mean that, in my opinion at least, there’s a lot of potential in both the Suliban and Xindi if they did return. Since we know that the Xindi joined the Federation, perhaps Discovery Season 4 could bring back at least one Xindi character in the 32nd Century, establishing that the Xindi remained loyal even in the aftermath of the Burn.
Daniels explained to Captain Archer that the Xindi joined the Federation by the 26th Century.
The Suliban are more complicated, and could make for a return either as an antagonist or ally of the Federation, depending on which way the writers and producers wanted to take things. There’s no proof that the Suliban would simply become friendly toward the Federation and Earth, even after Silik’s death, and if they had withdrawn and cut off ties as I suggested above, they may have continued to have a burning hatred of Earth and the Federation.
Strange New Worlds could see the return of the Suliban, perhaps through the kind of deep space encounter that I mentioned. If such a story makes clear that it’s the first time anyone from the Federation has seen a Suliban in roughly 100 years, this would go some way to closing the hole their absence in the 23rd and 24th Centuries generated.
What might the Suliban be like a century or a millennium after we last met them?
I could see Pike trying hard to establish some kind of diplomatic ties with the Suliban, only to see his efforts fail and the Suliban attacking the Enterprise. A skirmish like this wouldn’t lead to a larger conflict necessarily, but it would again confirm that the Suliban remained isolated and unfriendly well into the 23rd Century.
Discovery, as mentioned above, could bring back the Xindi. While we certainly could see them on friendly terms with the Federation, we could also see either the Suliban or Xindi looking to exact revenge for the Burn – an event I’m sure at least someone blames the Federation for!
A Xindi-Aquatic.
Given that Enterprise is less well-remembered than the Star Trek shows of the 1990s, perhaps we won’t see a major tie-in any time soon. There have been a couple of name-drops as mentioned, with the Suliban being mentioned once in Lower Decks. But so far, no major connection has been made. While we can say that the setting of modern Star Trek shows precludes all but a few major character crossovers, I think the absence of major factions like the Suliban and Xindi is more obvious, and at the very least, establishing an in-universe reason for why they disappeared after the mid-22nd Century would be worth doing.
Both factions have interesting elements that could be explored. The Suliban – or at least, some individuals – had undergone extensive genetic engineering at the behest of someone from the future, and the impact of that genetic engineering on Suliban society could be explored. Did they, as their one reference in Lower Decks seemed to hint at, retain some of their abilities, like shape-shifting? If so, did those traits get passed down to future generations? What are the consequences of their involvement in the Temporal Wars and their fight with Earth?
Hardly anything from Enterprise has appeared in modern Star Trek… yet.
The Xindi are not a single species. They are, in fact, five different species that evolved together on one planet. A sixth species had been wiped out by the mid-22nd Century. In a way, the Xindi could be a microcosm of the Federation – different species working together. There’s potential for the Xindi to be an analogy for real-world problems of different races and groups working together, and thus the faction presents a way for Star Trek to do something it’s always done: use its sci-fi setting to look at real-world issues.
I would make the argument that there are good reasons to bring back either faction. Not only are they relatively blank slates – getting blanker the further into the future their reappearances end up being – but bringing them into a current Star Trek project would connect back to Enterprise, something which hasn’t been done since Star Trek returned to the small screen almost four years ago.
Discovery had opportunities in its first two seasons to make reference to either the Suliban or Xindi – or other factions or events from Enterprise – but failed to do so in any significant way. With Strange New Worlds (and possibly the Section 31 series) picking up the baton for the 23rd Century, it perhaps makes arguably the most sense to bring them back there. But I could also see it being possible for an appearance in Picard, Discovery, or even Lower Decks or Prodigy. In short, there are many ways either faction could come back.
Whether the Suliban or Xindi ever will come back, though… well, that’s up to the creative team in charge of Star Trek!
Star Trek: Enterprise Seasons 1-4 are available to stream now on Paramount+ in the United States and other territories where the service is available. Further international streaming is available via Netflix. The series is available on DVD and Blu-ray too. The Star Trek franchise – including Enterprise and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
If Cyberpunk 2077 had been released today, with all of the improvements version 1.2 brings – and all of the other hotfixes and patches rolled out since its abysmal release in December – it would have received the exact same negative response from players and critics. This is a game that, for all of the minor improvements made, still has a long way to go to get to a decent state. At least, that seems to be the consensus now that the latest version of the game is live.
Cyberpunk 2077 is a game that, quite frankly, is still in development. But CD Projekt Red opted to release it to the public before development was finished. The game will go down in gaming history as one of the worst and most egregious examples of the horrible “release now, fix later” business model that has plagued the industry for the better part of a decade. Whatever improvements may come in future as development on the game continues, its reputation has been defined by its catastrophic launch. Don’t believe me? Just look at No Man’s Sky, another game that took years to get to where it should have been at launch. No matter what happens now with No Man’s Sky, it will forever be known as the game that was overhyped, lied about, and that players hated upon release. Cyberpunk 2077 is in the same boat.
Cyberpunk 2077 is the new No Man’s Sky.
Even the game’s biggest fans and supporters seem practically united in their unwillingness to recommend Cyberpunk 2077 in its current form, even after the updates and fixes brought by version 1.2. “If you’ve held off this long, you can wait a little longer,” suggested one Cyberpunk 2077 fan on YouTube. If that isn’t damning, I don’t know what is.
The problem with Cyberpunk 2077 isn’t just that it was full of bugs, glitches, crashes, frame-rate problems, and graphical errors. Ironically, those issues concealed what may come to be seen as the game’s worst traits – awful enemy and non-player character AI and scripting, unrealistic physics, and a game with what is considered to be an engrossing story held back by first-person shooter gameplay that’s average at best.
Fixing those things, if it’s even possible, will take a long time.
An NPC clipping through a vehicle. Picture Credit: Gameranx via YouTube.
Taking on an ambitious project should be commended, and CD Projekt Red were certainly ambitious with Cyberpunk 2077. As with No Man’s Sky, though, the ambition was clearly not backed up with sufficient skill, knowledge, and management. CD Projekt Red stepped away from the style of their previous title – the critically-acclaimed Witcher 3 – to tackle a wholly new genre. There’s clearly a big difference between a third-person action-roleplaying game and a first-person shooter roleplaying game, and for CD Projekt Red, the transition from working on one style of game to the other did not go smoothly – to say the least.
Perhaps one day we’ll learn more from those involved about how Cyberpunk 2077 went so far off the rails, and that will be an interesting story. However, even without knowing the details, we’ve been in this position so many times over the years with so many different games that we can make some reasonable assumptions. Developers were pushed into working on a totally different style of game without sufficient backup or training. Management kept changing their minds about the direction of aspects of the project. Despite being announced way back in 2012, development didn’t begin in earnest until 2016, meaning the game was developed in a scant four years, not eight. An absolute rock-solid deadline of the end of 2020 was in place and immovable, despite the game not being ready. And so on.
Driving in Cyberpunk 2077 is one aspect that has been improved – but still isn’t right.
Many of those points about poor project management, a lack of necessary skill and training on wholly new systems and engines, and rushing to meet deadlines applied to games like Fallout 76, Anthem, Mass Effect: Andromeda, and many others. I wouldn’t be surprised at all to learn something similar happened to Cyberpunk 2077.
It’s clear, though, that CD Projekt Red lack the development skill to match other open world games, even those from years ago. Grand Theft Auto V, while not directly comparable as it isn’t a roleplaying game, uses a densely-packed city as the main part of its open world, with systems like driving and evading the police that are present in Cyberpunk 2077. Yet that game manages to do every aspect better. Police in Cyberpunk 2077 randomly appear out of nowhere, spawned into the game within feet of the player. Even older Grand Theft Auto titles didn’t do that. Heck, even a game like Saint’s Row 2 from 2008 handles driving, pedestrians, and police way better than Cyberpunk 2077 version 1.2, and that game was released twelve years earlier and cost an awful lot less to develop!
Saint’s Row 2 managed to do better than Cyberpunk 2077 at several key aspects of gameplay.
For me, this is the real problem with Cyberpunk 2077, and it’s one that is not easily sorted out. The bugs and glitches at launch took attention and focus away from the fact that some pretty major gameplay elements are sub-par, and now that some of the glitches are finally going away (though by no means are all the problems fixed, especially on consoles) people are beginning to come around to the simple fact that the game itself is suffering from some significant issues.
Far from being a quick patch job, with the game being fixed and playable by the summer or even the end of 2021, Cyberpunk 2077 is in the early stages of a complete root-and-branch overhaul. The version that launched should have been a beta. Heck, it should have been an alpha. The game is still in development, but it’s already been released. This has to be one of the single worst examples of the “release now, fix later” business model that plagues the modern video games industry.
Cyberpunk 2077 promised a lot, and failed to deliver on much of it for many players.
Individual developers are not to blame, and they never are in cases like this. That’s why I was so upset when some “fans” seemed to be celebrating the company being hacked a few weeks ago. This is a failure of management. Management failed to understand the complexities of the project they were taking on. They were overambitious. They failed to ensure the development team had adequate resources to do their jobs. And when it came to marketing Cyberpunk 2077, they allowed a ridiculous hype bubble to get completely out of hand.
Version 1.2 may be the biggest step so far toward getting Cyberpunk 2077 into a more enjoyable – or even just basically playable – state. But the task facing CD Projekt Red, at a time when harsh but deserved criticism has surely lowered staff morale, is a truly daunting one. I wouldn’t want to be in their shoes!
Cyberpunk 2077 is out now for PC, Xbox One, and PlayStation 4. Cyberpunk 2077 is the copyright of CD Projekt Red. Some screenshots and promo artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: The Next Generation.
It isn’t. This “article” is just a horrible April Fool’s Day joke.
Gotcha!
I need to write something convincing here so that I can use it as an excerpt on the homepage. Let’s see what we can come up with… By expertly blending these different scenes together, Shades of Gray compiles the very best of Star Trek: The Next Generation into a single package. There, that’ll do. What can I say? I used to work in video game marketing. I can spin and bullshit about any subject I choose!
While we’re here, though, it’s worth noting a couple of things about Shades of Gray if you have the time. And yes, I’m serious this time. Pinkie promise.
Riker was injured on an away mission… setting up a clip show.
Shades of Gray is the only clip show that Star Trek ever made. With the decline of clip shows in general, and modern Star Trek shows having shorter seasons that don’t need to be padded out to fit archaic broadcast television schedules, I doubt that we’ll ever see another one. That makes it utterly unique in the Star Trek franchise. “Unique,” though, does not mean “good.”
The only reason Shades of Gray was made, as I alluded to above, was to fulfil The Next Generation’s contract of producing twenty-two episodes in its second season. Problems earlier in the season caused shoots to run longer than planned, and several episodes ended up being more expensive to produce than expected – most notably Q Who, which introduced the Borg for the first time, but also Elementary, Dear Data. This left the show in a place where it was necessary to produce an episode as cheaply as possible. It was thus little more than a money-saving measure, as clip shows almost always were.
The final scene of the episode – and of the entire second season. They were lucky a third had already been commissioned!
The poor reception to Shades of Gray meant that no other attempts were made to make clip shows, and the creative team behind The Next Generation and other Star Trek shows of the ’90s were very keen to avoid them.
It’s the only episode of The Next Generation to feature all of the show’s main cast. In addition to the main cast of Season 2, Dr Crusher and Tasha Yar returned in clip form from Season 1. So it’s got that going for it… which is nice.
Finally, and this is the most bittersweet part for me, is that Shades of Gray marked the unceremonious end of Diana Muldaur’s role as Dr Pulaski.
Captain Picard and Dr Pulaski.
I’ve yet to meet another fan of The Next Generation who likes Dr Pulaski as much as I do. Where Dr Crusher was often – and I’m sorry to say this – rather bland and uninteresting, even in episodes which gave her a significant role, Dr Pulaski has much more personality and more character. She’s headstrong and opinionated, and while some of her opinions – such as her ideas about Data being less than human – did not win her any fans, I liked that about her.
I would say that the Data issue was only really present in a couple of places across the season, and certainly by the time the season really got going she and Data had developed much more of a rapport. But her initial conflict with Data was supposed to mimic Dr McCoy’s argumentative tone with Spock in The Original Series. Indeed Dr Pulaski was intended to be a Dr McCoy-type character, designed to shake up the dynamic in what was still a new series. I do like Dr Crusher, and she had some great episodes, particularly in Seasons 5 and 6. But I would have dearly loved to have seen more of Dr Pulaski.
Perhaps we should save that for a Dr Pulaski article somewhere down the line? Remind me if I forget!
I’m not going to waste any more of your time for this silly April Fool’s Day joke. I hope it was a bit of fun!
Star Trek: The Next Generation is available to stream now on Paramount+ in the United States and other regions where the service is available. The series may also be available internationally on Netflix, and is available to buy on DVD and Blu-ray. The Star Trek franchise – including The Next Generation and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
This is somewhat of a rarity for me – writing up my first impressions of a brand-new game while it’s still brand-new! Evil Genius 2 – or to give it its full title, Evil Genius 2: World Domination – was released for PC only yesterday. It’s the sequel to Evil Genius, a game from 2004 that I don’t recall playing at the time, but the fun concept and aesthetic appealed to me enough to give this sequel a shot.
Evil Genius 2 is a base-builder, but that hardly sums it up. You take on the role of the titular “evil genius” – a supervillain of the kind you’d expect to see in a James Bond film, and the base you build is their lair. Perhaps Dr Evil from the Austin Powers film saga is a more appropriate comparison, given the game’s sense of humour! With a casino as a “front,” the objective is to make money, run evil schemes, and build a “doomsday device,” all the while avoiding detection and capture by the forces of good.
The game’s title screen.
If you’ve ever played a tycoon game – the likes of Theme Hospital, Rollercoaster Tycoon, etc. – then the style of gameplay will be familiar to you. Evil Genius 2 confronts you with a lot of different screens showing every aspect of your evil empire, and you have the ability to micromanage practically all of it.
Hiring, training, and firing of your evil minions – and even executing them if they displease you – is one aspect of the game. Minions can be trained to perform different tasks, both in the casino and behind the scenes, with a number of different specialisations. Guards can man guard posts and act as security, and valets can work in the casino greeting (and scamming) tourists, to give two examples.
A worker minion (left) and a casino employee minion (right).
But minions also need to be looked after – at least in a basic way! They have needs, such as food, rest, and relaxation time, and you’ll need to balance your evil lair to make sure that minions aren’t overworked.
There are a number of different rooms that can be constructed – by digging them into your mountain lair, naturally. Every evil genius needs an office, of course, and then a vault to store their ill-gotten gold. There are rooms to train minions, house them, generate power for the facility, and many more besides.
A staff room for minions.
Building is not entirely straightforward. Like other tycoon games, rooms are built on a grid. However, in order to simulate being underground, not every tile is able to be built on, and there are some which are inaccessible – at least in the beginning. This can make building rooms a tad frustrating, as can the camera control. If you don’t get the room perfect and need to edit it before it’s built, it can take a few camera rotations and clicks to remove unwanted sections and get the room laid out the way you want.
I also found doors to be a tad frustrating. In short, doors can only be placed in an area four tiles wide, and need an additional two tiles of rock/dirt on either side. Not every room needs a door, some can simply be built directly off another room or corridor, but this requirement was odd and unexpected. Doors can be important for security reasons, especially in rooms like a vault!
This feels like it’s more than $40,000 worth of gold – at least at today’s prices!
As with any new tycoon game, it will take a while to fully get the hang of the way all of the different in-game screens, stats, and systems work. Evil Genius 2 throws a lot of different aspects at you all at once, and players who aren’t used to this kind of experience might feel overwhelmed. This issue is exacerbated by the lack of a tutorial. The game simply drops you into gameplay right from the title screen.
There are three game types available, the first of which is a “quick start” that drops you into an already-open casino. The second mode is a standard game, and this offers three levels of difficulty, as well as a custom difficulty selector allowing players to choose from a variety of difficulty options. This customisation is great, and is something I wish more games would offer. For example, it’s possible to tone down the threat from the forces of good to focus more on managing the lair, or to reduce the cost of different types of in-game events like evil schemes or scientific research. All of which is great!
The custom difficulty options screen.
The final game type is a sandbox mode, allowing players to build their perfect evil lair without limitations. As is often the case in games like Evil Genius 2, this is a great place to get started! Learning more about the way the game works and what some of the requirements are while not under pressure is a much more enjoyable experience – at least for me!
In the couple of hours I’ve spent with Evil Genius 2 so far, I didn’t see any bugs, glitches, or other issues, though there are two very minor points of note. Firstly, booting up the game prompted a warning message, telling me that my graphics drivers were out-of-date. This isn’t the case (I checked to make sure) so I’m not sure what caused this warning to occur. Regardless, the game plays fine once you get into it and doesn’t suffer from any graphical issues, low frame-rates, or anything of the sort. On my 4K display it looks fantastic.
The warning pop-up.
Secondly, on a 4K display (my monitor has a resolution of 3840 x 2160 pixels) the initial pop-up when the game launches is very small. The desktop icon is likewise a low resolution; both are clearly designed for screens no larger than 1080p even though the game itself supports 4K. This isn’t something you have to contend with very much, but it’s worth pointing it out. In 2021, games shouldn’t have these silly issues as 4K has become commonplace on PC.
The art style is cute and cartoonish, a step away from the realism a lot of modern titles go for. I like games that are visually different, and tycoon games like Evil Genius 2 do well with this kind of exaggerated style. If you’ve played Two Point Hospital I think you’d agree that the art style – bright colours, cartoonish characters, and bold, silly items and décor – is clearly drawing inspiration from a similar place.
I like the game’s visual style (minions pictured).
Evil Genius 2 has a pleasant soundtrack to compliment its visual style, and while I wouldn’t say I was blown away and need to rush out and buy a copy, it’s just fine. It works well in combination with the rest of the game. Sound effects are the same – they work very well with the overall cartoony style.
The voices for a couple of the game’s characters are interesting! Actors Brian Blessed, best known for his role in Flash Gordon and for being a mainstay on British television, and Samantha Bond, known for her role as Moneypenny in four of the James Bond 007 films (GoldenEye through to Die Another Day) star as two of the game’s evil villains (i.e. playable main characters). That was unexpected, and I had to double-check to make sure I’d got that right!
Samantha Bond (pictured in the 1999 James Bond film The World Is Not Enough) lent her voice to Evil Genius 2.
I like Evil Genius 2, but more than that I want to like it. I remember tycoon games from the mid-1990s like Theme Park and Theme Hospital with incredible fondness, and this is a great attempt to recreate that older style of gameplay. Some modern tycoon games can go overboard with the stats and micromanagement options, making just learning the basics of how to play feel like a chore and a full-time job. Evil Genius 2 seems to have avoided that pitfall and struck the right balance between recreating that older style of game, but bringing it into the 2020s.
With a 10% discount at time of writing, Evil Genius 2 will set you back £32 (or $36 US). That’s not cheap, but it’s also not catastrophically expensive either. However, there is a “season pass” available to purchase for an additional £23 (or $25). Judging by the size of the DLC screen, there’s room for a lot of potential future updates and/or expansions, so watch this space. I would suggest that expansions could add new lairs – there are only three in the base game right now – or new playable villains, as there are currently four. I don’t think that these feel like extreme limitations, as part of the fun of a game like Evil Genius 2 is going back and replaying levels, completely redesigning your base.
Emma, one of four playable evil geniuses in the game.
In short, there’s a lot of potential replayability even with the four characters and three levels currently available. The existence of a season pass, though, seems to suggest there won’t be significant free expansions or updates, and I would assume that if you want to take advantage of new content as and when it’s available you’ll need to either buy the season pass or buy the individual expansions. This makes Evil Genius 2 basically a full-price game at £54 (or $61 US).
Evil Genius 2 started strongly, and I think it’s going to be a lot of fun. Over the next few weeks I’m sure to spend a lot more time with it, and if I have anything more to say perhaps I’ll write more about it at that time. For now, suffice to say I’m having fun with it. Living out my evil genius fantasy is a lot easier in video game form than it is in real life!
Evil Genius 2: World Domination is out now for Windows PCs and is available to purchase on Steam. Evil Genius 2: World Domination was developed and published by Rebellion Developments. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-3, and for other iterations of the franchise.
At this very early stage, with Strange New Worlds having only just entered production, we don’t know what storylines the series might include. It’s far too early to speculate, especially because we don’t even know who most of the main characters will be. But that won’t stop me!
I’ve been kicking around this theory since Strange New Worlds was announced last year, and while I’ve mentioned it on a couple of occasions I think it’s time to spin it out into its own official theory! I have already made some suggestions and preliminary predictions for things we might see during Season 1 of the upcoming series, but this is my first standalone pre-season theory.
So here goes: Pike and the crew will find a way to cross over to the Mirror Universe to save the Prime Universe version of Captain Lorca.
The Prime Universe version of Captain Lorca is missing.
To briefly recap, Captain Lorca was the original captain of the USS Discovery back in Season 1 of Star Trek: Discovery, but the character we met wasn’t the Prime version, he was from the Mirror Universe. We wouldn’t get to know that until the latter part of the season, but a transporter accident saw Lorca swap places with his Prime counterpart sometime prior to the events of Season 1.
While it was stated by Admiral Cornwell that Prime Lorca would not have survived in the Mirror Universe this was never confirmed on screen, and judging by the reaction of characters like Mirror Tilly and Mirror Georgiou to Lorca’s reappearance, they didn’t believe him to be dead or imprisoned. Thus Prime Lorca’s fate is unknown – which means he could be brought back.
Admiral Cornwell believed Lorca to be dead – but she had no proof of that.
Let’s go over the evidence in favour of Lorca’s survival first, then we’ll see if we have any evidence that Strange New Worlds might include a storyline of this nature.
Firstly, we never saw Lorca die on screen. Only one character – Admiral Cornwell – assumed he was dead, and then the subject was dropped as the crew had to focus on ending the Klingon War. This opens the door to Lorca’s survival, as in almost any film or series, a character should not be assumed to be dead unless we as the audience see that for ourselves! Star Trek has, on occasion, sprung surprises like this, bringing back characters who had “died” – such as Tasha Yar in The Next Generation Season 3 episode Yesterday’s Enterprise. The existence of different timelines and different versions of characters means we cannot be sure that practically anyone is truly dead and gone!
Secondly, in Discovery Season 1, when the crew crossed over to the Mirror Universe, nobody native to that universe expressed surprise about Lorca’s presence. If the Prime version of Lorca had arrived and been killed or captured, at the very least we’d expect Empress Georgiou to have commented on his reappearance. If she believed him to be dead or languishing in one of her torturous prisons, she wouldn’t have simply allowed Burnham to bring Lorca to her aboard the ISS Charon – surely she would have considered that to be a trap.
Empress Georgiou gave no indication that she believed Lorca dead or imprisoned.
We know from The Original Series episode Mirror, Mirror that transporter accidents – which Lorca is said to have experienced – don’t kill people. If Mirror Lorca arrived in the Prime Universe, it stands to reason that Prime Lorca crossed over to the Mirror Universe at the same moment. Characters in Season 1 made this same assumption, and I think we can be relatively sure that Prime Lorca did in fact end up there.
When he arrived, he would have immediately come under attack by Terran forces. However, there was also a significant contingent of Lorca loyalists, and if he could have survived the initial battle and gotten his bearings, he could certainly have gone into hiding to avoid Empress Georgiou’s assassins.
Could Captain Lorca have survived his initial encounter with the Mirror Universe?
This is semi-confirmed by the recent Discovery Season 3 episodes Terra Firma, Part 1 and Terra Firma, Part 2, in which Georgiou revisited a version of the Mirror Universe via the Guardian of Forever. In those episodes, Lorca’s absence was a pretty significant story point, and his planned coup attempt was brought up numerous times by Mirror Universe characters. These events supposedly took place during Discovery Season 1, shortly before Mirror Lorca’s return to the Mirror Universe. Prime Lorca had therefore already crossed over, and doesn’t seem to have been captured or killed.
If we’d learned in Terra Firma that Lorca was dead or imprisoned, that would be that. But his absence leads me to believe that he survived his initial encounter with Georgiou’s forces. After getting his bearings and realising he’d ended up in a different reality, Lorca’s first instinct would have been to find a way home. However, priority number one in such a situation is to survive to fight another day, and going into hiding to avoid further attacks makes a lot of sense.
We saw no indication in Terra Firma that Lorca was considered dead. In fact, his absence was a source of concern for Georgiou and others.
Just as Mirror Lorca was able to pass as his Prime counterpart, Prime Lorca may have been able to convince those around him that he was the Mirror version. We saw Kirk, Dr McCoy, Scotty, and Uhura manage to do so in Mirror, Mirror – and Spock remarked that it was “far easier for you, as civilized men, to behave like barbarians than it was for them as barbarians to behave like civilized men.” Survival in the Mirror Universe can be accomplished.
If Lorca were able to convince even a handful of loyalists to go into hiding, perhaps commandeering a shuttle or ship, they could have disappeared and gone off the grid shortly after his arrival. This would have the added benefit of giving Lorca time to regroup and figure out what happened and how to reverse it. At the very least, he would want to try to send a message back across the divide to the Prime Universe.
Lorca with some of his loyalists.
In the Mirror Universe, the existence of the Prime Universe was known to senior Terrans. The crossover of the USS Defiant (as seen in Star Trek: Enterprise) gave them a century’s head start on learning about their Prime cousins. Just as Michael Burnham was able to learn about the Defiant during Season 1, Lorca may have been able to come by this information too – especially because his Mirror counterpart seems to have been aware of the two universes.
So the pieces begin to fall into place. Lorca was resourceful, and may have been able to avoid detection long enough to survive. Following Mirror Lorca’s coup and Empress Georgiou’s disappearance, we don’t know what became of the Imperial throne or who the new Emperor is. It stands to reason, though, that with Mirror Lorca dead the heat would be off, and perhaps Prime Lorca would have been able to leave his hiding place and finally send his message across the divide.
The end of Georgiou’s reign may have allowed Prime Lorca an opportunity to break cover and contact Starfleet.
In short, it all hangs on those crucial first few moments after his arrival. If Lorca could survive in the Mirror Universe long enough to get his bearings, I firmly believe he could have passed himself off as his Mirror counterpart, gone into hiding to avoid Georgiou’s assassins, and laid low while he planned his next moves. When he learned of Georgiou’s death, breaking cover long enough to send a message would have been risky, but possible.
We don’t know exactly how communication between universes would work. But as mentioned, Lorca is a resourceful individual, and with the Mirror Universe’s knowledge of the Prime Universe, it stands to reason he could have figured out something. And if he could send a message asking for help, well that’s where Pike comes in.
Captain Pike.
We know for a fact that Captain Pike is aware of the existence of the Mirror Universe. As he departed the USS Discovery for the final time, Georgiou told him she was from there. His cheeky wink suggested he already knew of its existence – and of her origin – but even if he didn’t and was bluffing, after that moment we can say definitively that he knew of its existence. Given his rank, he could have learned more from Starfleet about the Mirror Universe – Discovery’s crossover was well-documented, after all.
Captain Pike would not leave any Starfleet officer behind, so if he picked up Lorca’s distress call – or was assigned to rescue him by Starfleet – he would figure out a way to do so. It’s in his nature to want to help, and as we saw across Discovery Season 2, Pike exemplifies the best of Starfleet. As two captains serving at the same time, it’s possible Pike and Lorca knew each other, or even that they were friends. This relationship could be explored, and would give Pike an added incentive to rescue Lorca.
Captain Pike would not want to abandon Lorca.
So the question now is how? How would Pike cross over to the Mirror Universe to retrieve Lorca? There are two reliable ways we know of to access the Mirror Universe (not including a warp core leak in a wormhole): the transporter and the mycelial network. With the USS Discovery gone (and the USS Glenn destroyed) using the mycelial network is clearly not possible. So that leaves the transporter.
By recreating the conditions of Lorca’s transporter accident, perhaps Pike could figure out a way to cross over and enter the Mirror Universe – and crucially, a way to get home again afterwards. However, this method means that Pike and a small team would be effectively on their own in the Mirror Universe, with no ship and no backup!
Is a crossover via the transporter on the cards?
Discovery reintroduced the Mirror Universe in a big way, and while it’s never been my favourite setting within Star Trek, it seems that the Mirror Universe episodes have gone down well with fans. It’s at least possible that Strange New Worlds would want to try its own Mirror Universe story, and I can’t think of any that would be better than rescuing Captain Lorca.
Spock’s presence may complicate matters, though. In Mirror, Mirror he seemed entirely unaware of the Mirror Universe when Kirk and the others crossed over, so perhaps he would have to be kept out of such a story. It wouldn’t be impossible to accomplish this; perhaps the mission is classified so only officers of a certain rank can know, or perhaps Spock was away on another assignment or injured and unable to participate. If a suitable in-universe reason could be found, it would be possible to keep Spock out of this story – preserving Star Trek’s internal timeline.
Spock would need to be kept out of any Mirror Universe stories in Strange New Worlds.
On the production side of things, Jason Isaacs – who played Lorca – has indicated he’d be up for a return to Star Trek, and as mentioned the Mirror Universe has been popular within the franchise in recent years. There are no practical reasons that I can see which would make a story like this impossible.
So that’s the extent of this theory – at least for now! Captain Lorca is alive, stranded in the Mirror Universe. He sends a message to Starfleet, and Pike is sent to rescue him. This story could be a lot of fun, and bringing back Lorca would be a really interesting move, one which could have repercussions for Strange New Worlds, the Section 31 series, and any other 23rd Century Star Trek projects. Lorca could go on to be a recurring character in any and all of these shows.
It would be great to welcome Lorca back to Star Trek.
Obviously we don’t know at this stage whether this will happen in Season 1 – or at all! However, it would be a great big connection between Discovery and Strange New Worlds, tying together two parts of the ongoing Star Trek franchise, which you know I’m always in favour of.
Lorca was an interesting character in Season 1 – the hardball Starfleet captain who didn’t always play nice. It seems as though the Prime version was similar, in many respects, to his Mirror counterpart, which is one of the main reasons Mirror Lorca was able to avoid detection for so long. This kind of character is uncommon in the franchise, and bringing Lorca back would be a lot of fun, even if it was just for a single episode.
If we don’t see Lorca return in Season 1, I’m still going to keep my fingers crossed. Perhaps he’ll make an appearance in Season 2 or in the Section 31 series instead!
Star Trek: Strange New Worlds will be broadcast at some point in future on Paramount+ in areas where the service is available. Further international distribution has not yet been announced. The Star Trek franchise – including Strange New Worlds, Discovery, and other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-3, Star Trek: Picard Season 1, and for other iterations of the franchise.
At the end of Star Trek: Discovery Season 2, Mirror Georgiou surprised me – and a lot of other viewers as well – by remaining aboard the USS Discovery as it headed into the future. Michelle Yeoh, who plays the character, had been announced as the lead in a new spin-off series based on the shadowy organisation Section 31 in the run-up to Season 2’s broadcast, and it was assumed that the new series would take place in the 23rd Century. Georgiou’s departure into the future seemed to complicate that!
Part of that story has since been resolved, and we now know that Georgiou will not be remaining in the 32nd Century with Burnham and the rest of Discovery’s crew. The Guardian of Forever sent Georgiou to an unknown destination in the episode Terra Firma, Part 2. Georgiou’s destination was left ambiguous, deliberately so. And in my Discovery Season 3 theories post after Terra Firma, Part 2 was broadcast I speculated about a few possible time periods that she could find herself in on the other side of the Guardian’s portal. This time I’m going to expand on that a little, looking at the possibilities of different time periods, as well as the possible pros and cons of each from both an in-universe and production perspective.
Mirror Georgiou – played by Michelle Yeoh – is set to headline the upcoming Section 31 series.
Before we get into the different time periods, it’s worth considering the Section 31 show’s status. Despite being announced in early 2019, before Discovery Season 2 was broadcast, the show has yet to enter production. Comments from Alex Kurtzman and particularly the two lead writers/producers (Bo Yeon Kim and Erika Lippoldt) seem to suggest that the show’s fate is not certain, and recent news about Star Trek projects through at least the first half of 2022 explicitly excluded the Section 31 series. It seems as though it won’t be entering production any time soon, perhaps not until Discovery, Picard, or Strange New Worlds have concluded their runs.
I must admit that this news doesn’t leave me feeling great. The Section 31 series already took a back seat to Strange New Worlds – fans were clamouring for more of Anson Mount and Ethan Peck as Pike and Spock after Discovery Season 2, and that definitely stole the Section 31 show’s thunder. Fans just weren’t as excited about Mirror Georgiou and Section 31 as they were for Pike, and as a result we’ve seen Strange New Worlds greenlit and enter production before Section 31, even though it was announced later.
Strange New Worlds is already in production, despite being announced after the Section 31 show.
I was one of the fans who wasn’t particularly excited for Section 31 during Discovery Season 2. But I have since come around to the idea of this show, and I feel that – if properly executed – it could be a truly interesting and different part of a growing Star Trek franchise. A James Bond-esque spy thriller, which is what the series seems to want to be, holds a lot of appeal, and may even succeed at bringing in new viewers beyond Star Trek’s usual crowd. That’s all to the good!
So despite my initial reaction, I’m now firmly in the camp that’s looking forward to Section 31 – and I hope it does manage to enter production before too long! With that out of the way, let’s start to consider just when in the Star Trek timeline the series could be taking place. My usual caveat applies: I have no “insider information.” This is guesswork from a fan, and a chance to spend a bit more time with Star Trek. Nothing more.
A black Section 31 combadge, as seen in Discovery Season 2.
To briefly recap, Discovery Season 3 took the crew – including Mirror Georgiou – to the 32nd Century. For technobabble reasons, crossing over from a parallel universe and travelling forward in time caused Georgiou to become terminally ill, suffering as a result of her molecules being pulled in two directions. In order to save her life, Burnham and the AI aboard Discovery took Georgiou to an isolated planet in the Gamma Quadrant, which was later revealed to be the new home of the Guardian of Forever. After putting Georgiou through a test in which she appeared to revisit the Mirror Universe, the Guardian allowed her to use the portal to travel backwards through time.
The one thing we need to pay closest attention to is what the Guardian said of Georgiou’s destination. He didn’t specify in any real way where or when he was sending her, instead opting to ambiguously tell her that he was sending her “to a time when the Mirror Universe and the Prime Universe were still aligned.” That does not necessarily mean the 23rd Century, and it’s largely because of this line that we can theorise about Georgiou’s destination!
Without further ado, let’s look at my list of possible destinations for Georgiou, and thus the possible settings for the Section 31 series.
Number 1: The 23rd Century
Despite everything else I’m going to say on this list, the 23rd Century has to be the most likely destination for Georgiou. From the production side of things, this is what we were told when the show was announced, and it would allow for possible crossovers with Strange New Worlds and any future series or films set in this time period. And from an in-universe point of view, the only way to cure Georgiou’s technobabble illness was either to return her to her own time period – the 23rd Century – or to the Mirror Universe. None of the other time periods on this list would, as far as we know, cure her condition.
However, the Guardian of Forever’s statement, quoted above, seems to rule out the 23rd Century. As we’ve seen in both The Original Series and Discovery, by the 23rd Century the two universes were very much not in alignment. The Federation and the Terran Empire are about as far apart as it’s possible to be, and Discovery even implied that there are genetic differences between Terrans and humans.
Kovich, the Federation official who conducted Georgiou’s debriefing in the 32nd Century.
Returning to the 23rd Century could see Georgiou reunite with Ash Tyler, the head of Section 31 as of the end of Discovery Season 2. Tyler could have an interesting role to play in the new series, and the clash of personalities between him and Georgiou – as well as a potential for them to bond over their mutual love for Burnham – could see some truly interesting and perhaps even emotional character moments.
If Georgiou does arrive in the 23rd Century, one of the big storylines would surely be the disappearance of Section 31, explaining how it went from being an open secret in Discovery’s era to something entirely underground by the time of Deep Space Nine 120 years later. Ash Tyler may have started that process – and it could even be something we see hinted at in Strange New Worlds if he makes an appearance there – but Georgiou could be the driving force behind cloaking Section 31 in secrecy – and may even kill off Starfleet officers who are aware of the organisation’s existence.
Section 31 was hidden and its existence unknown to most Starfleet officers by the mid-24th Century.
The Guardian of Forever’s line may count against it, but I believe that the 23rd Century remains Georgiou’s most likely destination. She may arrive within days, or even hours, of her departure, or she may not arrive until several years later. The latter may be more likely, but either way the potential for crossovers with Strange New Worlds exists and is enticing.
In addition to seeing the organisation disappear and move into the shadows, Section 31 stories set in the 23rd Century could bring back races and factions we got to know in Discovery and The Original Series. We could explore in more detail the relationship between the Federation and the Romulans in this era, for example, which would tie in with Star Trek: Picard‘s Romulan focus. Or we could see how Section 31 reacted to Pike and Kirk’s missions of exploration.
Number 2: The Mirror Universe
As noted above, there are two known ways to cure Georgiou’s technobabble illness: return her to her own time period, or return her to her native universe. Perhaps the Guardian of Forever was so impressed by Georgiou’s attempts to reform the Terran Empire (depicted in Terra Firma, Part 1 and Terra Firma, Part 2) that he chose to send her back there to continue that work – even though he said he wouldn’t!
This raises its own question of when Georgiou will arrive – will it be in the Mirror Universe’s 23rd Century, or will she arrive at some other time? If the Section 31 show goes down the Mirror Universe route it would already be a pretty significant curveball, so I would assume she would return to the 23rd Century rather than complicating matters further by having her arrive in a different time period.
Georgiou with her honour guard in Terra Firma, Part 1.
So let’s assume this theory is right and Georgiou arrives back “home” in the Mirror Universe. What would that mean for the show – it’s supposed to be based on Section 31, not the Mirror Universe! There could be a Mirror version of Section 31, perhaps one which acts in a different way to the Section 31 of the Prime Timeline. Georgiou may even establish such an organisation to further her attempts at reforming the Terran Empire.
In the timeline of the Mirror Universe shown in Deep Space Nine, reforms put in place by Spock led to the collapse of the Terran Empire, and the Mirror Universe by the 24th Century came to be dominated by a Klingon-Cardassian alliance. Perhaps the tragedy of the Section 31 series will be that the reforms Georgiou tries to put into place will ultimately lead to Terrans being enslaved and subjugated.
Terrans like Mirror O’Brien were conquered and enslaved by the 24th Century.
I’m not sure that this would be the best way to go, even though on the surface it appears to be something different. The Mirror Universe, as I’ve said on more than one occasion, can be okay to visit for one-off stories, but the over-the-top violent nature of the setting tends to mean Mirror Universe characters are boring and pretty one-dimensional, all enjoying gratuitous violence for its own sake. The Mirror Universe also descends far too easily into pantomime, with hammy, over-the-top performances even from otherwise good actors.
The role of Section 31 in the Mirror Universe is not clear either, and it doesn’t seem like something the Terran Empire would necessarily need. If they’re already successful as a dominant, authoritarian state with a huge military, an organisation like Section 31 just seems like overkill! Not to mention that, thanks to Terran morality, there’d be no reason for such an organisation to be clandestine. It could be out in the open, just another branch of the Terran military. In short, while a Mirror Universe series may seem interesting to some fans, I don’t think this would be the right way to do it. It would be too much of a twist on the series we’re expecting to see, and it would be limited in its scope.
Number 3: The 25th Century
Specifically I’m thinking that Georgiou could arrive at the very beginning of the 25th Century. Why? Well, basically the entire reason for this hangs on the production side of things! The dawn of the 25th Century is when Star Trek: Picard is set. Having Georgiou arrive at this time would potentially allow for the Section 31 show to cross over with Picard. Even if that didn’t happen, it would expand the 25th Century setting, perhaps laying the groundwork for more shows and films in this era.
Out of all of the possible destinations for Georgiou, this one has the least going for it from an in-universe point of view. There’s nothing we know of to suggest that the Mirror and Prime Universes are in some kind of alignment by this time, nor would sending her here cure her technobabble condition. In fact, if she did arrive here she should arguably still be suffering from it. It would be a contrivance, one set up specifically to allow Georgiou to cross over and appear in Picard – or other future Star Trek projects which also occupy this place in the timeline.
Picard and the crew of La Sirena.
I mentioned Deep Space Nine’s Mirror Universe episodes above, and in theory we could see a connection to those episodes if the dawn of the 25th Century is when the Section 31 show is set. If the Terran Rebellion depicted in Deep Space Nine was a success, the Terrans we met in that show seemed far less aggressive and domineering than their 23rd Century counterparts. Perhaps we could learn that they didn’t simply re-establish the Terran Empire and created a more enlightened democratic society in its place.
However, there are two issues with this. The first is that in Discovery Season 3, Kovich at least implied that some form of Terran Empire or Terran-centric society existed after the 24th Century. Kovich appeared to be an expert on Terrans, and while he did say that the Terran Empire had collapsed “centuries” before the 32nd Century, he didn’t say exactly how long ago that happened. The second point comes from the production side of things: how many viewers will be familiar with those five episodes of Deep Space Nine? Us Trekkies will be, of course, but most casual viewers of the series won’t remember them, and thus there isn’t any real benefit to tying Georgiou and the Section 31 show to Deep Space Nine in a big way.
Number 4: The 21st Century
Could the Section 31 series be the first ever Star Trek show to be set in the present day?! Well, no. But maybe!
Here’s why I think it could at least be possible that a mid-to-late 21st Century setting is on the cards. The Guardian of Forever’s statement, quoted above, says that Georgiou is being sent to a time when the Mirror and Prime Universes were aligned. In Star Trek’s timeline, the earliest point of divergence that we know of came in the year 2063, during first contact between humans and Vulcans.
In the Prime Timeline, first contact went smoothly and led to an alliance between Earth and Vulcan that eventually evolved into the Federation. In the Mirror Universe, Zefram Cochrane led a mob that massacred the arriving Vulcans. In fairly short order, Terra had conquered Vulcan and the Terran Empire was born. We can’t be certain that this is absolutely the earliest point of divergence, but it’s the earliest we can be sure of.
The Guardian of Forever in the guise of “Carl.”
Using this logic, the 21st Century is the best fit for the Guardian’s statement, as it can be argued that prior to first contact, the Mirror and Prime Universes were in total alignment. Sending Georgiou to the mid-21st Century – perhaps the 2050s or 2060s – would thus cure her of her technobabble illness, which was the whole point of sending her back in time.
While this is certainly a good fit (we can argue about “best fit” till we’re blue in the face!) for the Guardian of Forever’s statement, what would it mean for the Section 31 show? If Georgiou arrived in the 2050s or 2060s, she’d be on Earth either during or shortly after the Third World War. This event has been referenced a few times in Star Trek but never really explored, and we could learn more about the factions involved, as well as more about the impact first contact had on humanity.
Might Georgiou arrive some time before the events of Star Trek: First Contact?
However, for a Star Trek show, I think a 21st Century, pre-first contact setting would be a severe limitation. Instead of Georgiou trekking across the galaxy kicking butt, she’d be limited to Earth and the solar system, with adversaries being humans and perhaps the occasional Vulcan. That limitation would be difficult, and as we’ve never seen a Star Trek show set so early in the timeline, there would be unique challenges to overcome.
However, on the flip side it could be interesting to learn that Georgiou – the former Terran Empress – was instrumental in the creation of the Federation. By laying the groundwork for Section 31, perhaps even creating the organisation itself, Georgiou could keep humanity safe in its crucial early days as a spacefaring people. Georgiou could be seen not just as the leader of Section 31, but as its first ever leader, laying down the ground rules for how Section 31 will operate, and its objective of defending the Federation at all costs.
Number 5: The 27th Century
In the Discovery Season 3 episode Die Trying, Kovich gave us a bit more information about the Mirror Universe. Specifically, he explained that the “distance” between the two parallel realities had been slowly growing, meaning that by the 32nd Century it was no longer possible to cross between them as it had once been. The last crossover before the 32nd Century came “five hundred years” earlier – which would put it sometime in the 27th Century.
Does this mean that it fits with the Guardian of Forever’s statement about the two universes being “aligned?” I don’t think so, and it’s a stretch to make that argument. However, as the 27th Century was (indirectly) referenced only a few episodes before Georgiou’s departure, I think we have to consider it as a possibility for her ultimate destination. If it wasn’t in play at all, why bring it up? Maybe it’s just a red herring; a throwaway line I’m too focused on! But maybe there’s more to it than that.
Burnham and Georgiou chat with the Guardian of Forever.
What do we know about the 27th Century? The answer is “very little.” It was referenced in The Next Generation Season 3 episode Captain’s Holiday, when a powerful weapon created in this period was sent back in time. Time travel had been definitively invented by this time, and the Federation used it in some capacity. Otherwise, all we can be sure of is that the Federation existed in this era.
Having an almost-blank slate like this is what a lot of creators and producers want! So in that sense, it would be a great setting for a new Star Trek series, just as the 32nd Century was for Discovery Season 3. However, unless there’s a bigger plan to bring more Star Trek projects to this time period, it would isolate the Section 31 show, separating it by hundreds of years in both directions from everything else in the franchise. I’m not sure that would be a positive thing.
So that’s it. We’ve looked at five possibilities for the Section 31 show’s setting, largely based on a single ambiguous line from Terra Firma, Part 2!
At this stage, if I had to place a bet with my own money I’d have to say that the 23rd Century is most likely to be the right choice. The others all have drawbacks, and while all five have the potential to tell different and interesting stories, the plan all along seems to have been for the Section 31 series to use a 23rd Century setting. The reason for all of this speculation, of course, is that we didn’t see for ourselves where – or when – Georgiou ended up after she stepped through the Guardian of Forever’s portal!
This is the last we saw of Georgiou. Her destination? Unknown.
I’m still hopeful that the positive reception received by Star Trek: Picard will lead to more projects occupying its 25th Century setting in future, and if that’s the case then bringing the Section 31 series to that time period would make a lot of sense. As I’ve said on a number of occasions, when Star Trek was at the pinnacle of its success in the 1990s, the shows and films being produced all shared the same setting and time period, something which modern Star Trek has opted to disregard. From the point of view of casual fans and viewers, this unquestionably makes the Star Trek franchise harder to follow, so consolidating as many projects as possible into a single time period makes a lot of sense.
However, if Strange New Worlds proves to be the success that ViacomCBS – and many fans – are hoping for, returning to the 23rd Century with the Section 31 series would still accomplish that goal. There could be crossover episodes between the two series, and future projects – like the potential Ceti Alpha V miniseries – could also be incorporated into a broad, interconnected set of shows.
Georgiou just before leaving the 32nd Century.
I remain hopeful that the Section 31 series will make it. Though it seems as if production may be months or even years away right now, the show remains in contention over at ViacomCBS, and would certainly take Star Trek to different thematic places. As I said when I wrote up a wishlist of things I’d like to see included, a spy thriller has the potential to tell some fascinating stories, and perhaps some that are morally ambiguous. I see the future cast of Section 31 – including Georgiou – as antiheroes; a team kind of like the DC Comics villains in the film Suicide Squad, doing bad things to bad people in the name of keeping others safe.
I hope you’ll stay tuned for any and all future Section 31 news! If we hear any major announcements, casting information, or see a trailer, I’ll do my best to cover it here on the website. There’s a huge amount of Star Trek on the horizon, and Section 31 could be a significant part of that. Time will tell what will ultimately happen, but I’ll be keeping my fingers crossed!
Stay up to date with my Section 31 articles on my dedicated Section 31 page. The untitled Section 31 series currently has no broadcast date scheduled. However, it will almost certainly premiere on Paramount+ in the United States, Australia, and other countries and territories where the service is available. Further international distribution has not been announced. The Star Trek franchise – including the Section 31 series, Discovery, and all other titles mentioned above – is the copyright of ViacomCBS. Some stock photos courtesy of pixabay. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I’m a huge fan of Star Trek – which you probably know if you’re a regular around here! What would become the Star Trek franchise was born out of the space race of the 1960s; the incredible excitement of launching rockets, sending human beings into space, and the Apollo programme that would eventually send Neil Armstrong and Buzz Aldrin to the surface of the moon in July 1969.
It’s hard to remember now, almost fifty years since mankind last set foot on the moon, but the pace of technological progress required to get there in the first place was incredible. The Wright brothers made the first ever powered flight in a heavier-than-air vehicle in 1903. Sixty-six years later, Neil Armstrong took that “giant leap for mankind.” In less than the span of a single human lifetime, we went from the horse and cart to the Saturn V rocket.
It’s been more than fifty years since Neil Armstrong took the first steps on the surface of the moon.
This was the world my parents’ generation grew up in. My father would’ve been in his late twenties when the first moon landing happened, and like practically everyone his age he can remember that event vividly. My grandfather, on the other hand, could distinctly remember the excitement he and his schoolfriends felt at seeing an automobile – a rarity when he was a child.
For all of the monumental accomplishments made in the field of space exploration in my lifetime, nothing compares to landing on the moon, launching the first satellite, or sending the first people to space. And that’s for a pretty simple – yet devastating – reason: we don’t do those kind of big missions any more. The space race ended, and with it the investment of governments shrank significantly. The scope of future missions was curtailed, and NASA in particular looked to money-saving measures.
The launch of a Saturn V rocket.
We’ve heard in every decade since the eighties the promise that we’d land humans on Mars within ten years – then the decade draws to a close and the promise is repeated. If you’d spoken to someone of my parents’ generation in the late ’60s, the idea that humanity would still have never gone to Mars – or even left Earth’s orbit – over fifty years later would have seemed utterly absurd! Surely, they felt, the pace of technological change and improvement would simply continue, and with it, more exciting space missions would come.
But the fundamental technologies involved in space travel haven’t really changed. The rockets that launch all of our satellites, probes, and astronauts are based on the same technology that Wernher von Braun created for the V-2 rocket during the Second World War. The engines and reactors powering our probes have hardly changed since the days of the Pioneer and Voyager programmes. When the money dried up, and the impetus pushing humans to explore space also dried up, technology stagnated.
Dr Wernher von Braun (circled) initially developed rockets for Nazi Germany before working for NASA. Photo Credit: Bundesarchiv, Bild 146-1978-Anh.023-02 / CC-BY-SA 3.0, CC BY-SA 3.0 DE https://creativecommons.org/licenses/by-sa/3.0/de/deed.en, via Wikimedia Commons
The development of the reusable space shuttle was a double-edged sword. On the one hand, it allowed for more frequent missions, sending more humans to space and putting up more satellites and probes than ever before. On the other, it limited humanity’s manned missions to Earth orbit only, and restricted the size and weight of those same satellites and probes. The shuttle remained in service for thirty years, and in all of that time, the development of other spacecraft slowed to a crawl.
There are financial and political reasons why this is the case, especially in the United States. For the US government, space exploration is expensive, and thus NASA’s budget is first on the chopping block when savings need to be made! But there are also political reasons – many politicians have promised a return to the moon and further manned missions, yet were unable to deliver due to changes in political control of the White House and Congress.
All of this has contributed to a sense that I have, as a non-scientist and layman, that space exploration has lost much of its excitement.
The Space Shuttle Enterprise during a test-flight.
The recent landing of the Perseverance Rover on Mars kind of encapsulated this, and is what prompted me to write this piece. Because as amazing an accomplishment as Perseverance’s successful landing was, it’s an almost-identical vehicle to Curiosity – a rover which has been on Mars, sending back data and photos since 2012.
From a scientist’s point of view, the two rovers may have different equipment. Perseverance may be able to conduct experiments that Curiosity couldn’t, and that’s fine. As scientific instruments I’m not doubting their merits. But as a layman looking in, we’ve been seeing photos of the barren Martian landscape for decades, and in high-definition for almost ten years. It’s pretty much a given that Mars once held liquid water and some forms of bacteria, even if the “smoking gun” evidence has yet to be found, so even if Perseverance were to conclusively prove that Mars once harboured microscopic life… even that wouldn’t feel all that interesting.
The Perseverance Rover recently landed on Mars.
The same applies to manned missions. No human has left Earth’s orbit in my lifetime. Manned missions to “space” today take humans to the barest edge of what we could reasonably call “space” – a few hundred miles above our planet’s surface, locked in orbit. The International Space Station, like the space shuttle before it, may be a wonderful engineering accomplishment, and its experiments may achieve interesting results for scientists, but after more than twenty years of continuous occupation of the ISS, it’s not exactly exciting is it?
The last time I felt truly awed by a space mission was New Horizons’ flyby of Pluto in 2015. Seeing images of a planet – or dwarf planet, to give Pluto its official designation – that had never been visited before was genuinely interesting. New Horizons completed the set – all nine planets that I learned about in school had now been visited and photographed by human space probes. That was an interesting moment.
Pluto in true colour, as seen by the New Horizons probe.
I’m increasingly sceptical, though, that any manned mission in the years to come will recapture that feeling. We’ve heard every few years that a manned mission to Mars is in the planning stages, but so far it’s never happened. There are certainly still technical and medical issues to overcome with such an endeavour, such as the long-term effects of low gravity on human bodies and the not-so-easy feat of constructing a large enough and powerful enough spacecraft to make such a journey. I doubt we’ll see it before the most-recent promised date of 2030.
Nor does a return to the moon seem to be on the agenda – again, despite promises to the contrary. The United States had talked about a manned mission sometime this decade, but nothing seems to have been done to further that objective in a long time; NASA’s “back to the moon” web page hasn’t been updated in several years, and I haven’t heard any talk of the proposed mission in a long time.
NASA’s “back to the moon” web page.
So we’re left with more missions to Earth orbit and probes to places we’ve already been. Nothing about that inspires me right now, and the missions that humanity sends into space have become mundane and routine. Perhaps that’s a comment on how we’ve become a spacefaring species: that rocket launches which would have drawn huge attention in years past are now considered dull. But I think it’s also a comment on how space exploration has lost some of its focus and impetus, with missions opting to stay in – relatively speaking, of course – “safe” territory.
As we come to learn more about space and our place in it, the expectation from decades past that we’d be up there exploring it has failed to come to pass. We’ve discovered thousands of planets orbiting stars in our galaxy, yet we have no way to ever practically visit them. We’ve sent countless rockets up into space to undertake a variety of missions, yet never tried to develop an alternate method of propulsion or getting into space. Because the fundamental technologies underlying our space missions haven’t been replaced, space exploration itself has kind of stagnated.
A SpaceX Falcon 9 rocket uses the same basic technology as the V-2 did in the ’40s. Photo Credit: U.S. Air Force photo by Airman 1st Class Zoe Thacker.
As a kid I can remember wanting to be an astronaut and having a fascination with all things space. In the late ’80s and ’90s it seemed that there was still the potential to keep exploring and do bigger and better things – even if that potential had gone unrealised for twenty years or more. But it never came to pass, and I find it quite sad in a way that no human has walked on the moon, or even left Earth orbit, in my entire lifetime.
Perseverance landed on Mars a few weeks ago, and I have no doubt that it will send back data and images that will be of interest to scientists. It may even make the long-awaited breakthrough regarding ancient microbial life on the red planet. But as I look in as a layman, I can’t help but feel that I want to see something else. Why not go to Venus, to Mercury, to the moons of Jupiter? Why not send a probe to visit Neptune or Uranus, neither of which have been visited since the Voyager probes flew past them in the ’80s?
Perseverance at NASA prior to travelling to Mars.
Above all, our goal should be to send humans out into space, pushing the boundaries of science and technology to go where no man has gone before. And there’s the rub. We’re sending probes where probes have already gone before. Rovers to planets where rovers have already gone before… and are still actively exploring. Humans are going to a space station where more than 200 people have gone before. More than 550 humans have spent time in Earth orbit. It’s beginning to stretch the truth to call the most recent ones “pioneers.”
There are some interesting-sounding missions on the horizon, including planned missions to Saturn’s moon Titan, flybys of asteroids, and the James Webb Space Telescope, which will be an improvement over the decades-old Hubble Space Telescope and may potentially help scientists learn more about the formation of galaxies and stars. But there aren’t any manned missions I can feel excited about yet – and as I said I’ll be sceptical of any mission claiming to send humans anywhere other than the ISS until the rocket is on the launchpad and the astronauts are suited up. We’ve been down this road too many times for me to have any confidence, I’m afraid.
I know how this article comes across, and it’s for that reason I didn’t want to publish it immediately after Perseverance landed on Mars. That is undeniably an accomplishment, one which the team can and should take pride in. And as I keep saying, I’m not a scientist. These missions achieve a lot from a scientific standpoint, bringing in a lot of data about different aspects of the cosmos. The data we gain from missions like Perseverance, for example, will hopefully further inform a future manned mission to Mars.
The fact that we have so much technology in space, and that we see so many rocket launches that they don’t even make the news any more are accomplishments. Humanity’s space infrastructure may not have developed in the way I would have wanted, or in the way people of my parents’ generation may have expected in the aftermath of the moon landings, but we have achieved a lot. None of that should be in dispute, and that isn’t what I’m trying to say in this article.
The International Space Station over Florida.
Space exploration isn’t just about raw data and scientific interest. It needs to be inspirational, calling out to future generations of scientists and astronauts to say “hey, look at this absolutely amazing thing we’ve done.” And for me, that inspiring aspect hasn’t been present for a while. The decisions made going back fifty years or more to focus on Earth orbit and unmanned probes to Mars at the expense of other destinations has led space exploration to feel boring by 2021. I think that’s a shame, but I also worry that if that inspirational aspect remains lost, we may never get it back. If nobody cares about going into space because the things we do in space have already been done before, the resultant loss of interest will mean future generations won’t even try to develop new technologies or push forward to new destinations.
Necessity, as they say, is the mother of invention. And with space exploration having become a luxury rather than a necessity, there has been no real drive toward creating new and better ways of doing it. Why spend time, money, and resources inventing some kind of anti-gravity thruster when chemical rockets from the 1940s still work? But without that need, that drive, I really do believe we’ve seen space technology stagnate and fail to improve.
The Nazi V-2 rocket (modern replica pictured) was the first truly successful long-range rocket. Photo Credit: Lars Aronsson, CC SA 1.0 http://creativecommons.org/licenses/sa/1.0/, via Wikimedia Commons
None of these things are easy, and it’s outstanding in many ways that we’re in as good a position as we are in terms of space exploration and space technology. But I can’t be the only one who feels this way. There hasn’t been a truly pioneering manned mission since we last went to the moon in the early ’70s, and when we’re sending probes and rovers to planets that have seen probes and rovers visit on a number of previous occasions… let’s just say that the first time is always interesting, but each subsequent one draws less and less attention and excitement.
The sad reality, I suppose, is that there isn’t any compelling reason to go to space beyond the thrill of exploring it. And thrills don’t pay the bills! We have all of the resources we need here on Earth – at least in the short-to-medium term – and the expense of doing something commercial in space, like mining or collecting resources, versus the potential profit seems to rule it out. Space is hard to commercialise right now, and thus we seem not to be as interested as we were in decades past.
The planet Uranus – last visited by a human probe in 1986.
SpaceX, the most successful commercial space company, makes its money by launching satellites and other missions in Earth’s orbit – as well as from the upcoming Starlink satellite internet service. That aspect of space can and has been commercialised. But the rest of it – the moon, the asteroids, the planets, and beyond – are currently beyond our reach, at least in terms of a cost-to-profit ratio. It falls solely to government-sponsored agencies, then, to engage in exploration.
I always keep my fingers crossed for interesting and exciting news from space. And it isn’t all doom and gloom; there have been some interesting events, such as the recent transit of ʻOumuamua – which may have been the first interstellar object ever detected. But even then, I’m left with a sense of a missed opportunity. We didn’t send a probe to investigate ʻOumuamua because we couldn’t. We lacked the technology to catch up to the fast-moving object, and thus we’ll never know for certain exactly what it was or what it looked like.
Will we put humans back on the moon – or even on Mars – in the next few years, or even in my lifetime? I can’t answer that question with any certainty any more, and having been let down so many times, I don’t think I’ll believe it until I see the astronauts strapped into their seats on the launchpad. I want space to be interesting, for humans to push the boundaries and strike out into the great unknown. And I want probes to do the same, visiting distant parts of the solar system in the name of exploration. Revisiting Mars and the ISS may provide interesting scientific opportunities, but speaking for myself as a layman, these things no longer hold my interest. Space exploration has become boring.
Some images and artwork courtesy of NASA and/or Wikimedia Commons. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1, Star Trek: Lower Decks Season 1, Star Trek: Discovery Seasons 1-3, and the casting of Star Trek: Prodigy. There are further spoilers for older iterations of the Star Trek franchise.
A few days ago I took you through a short list of five main characters from past iterations of Star Trek that I’d love to see come back. This time, in a similar vein we’re going to look at five secondary or recurring characters that likewise could make for interesting returns to the franchise. Though most Star Trek shows have primarily focused on a main cast of characters, every series to date has featured at least one or two recurring characters as well.
For this list, I’m counting characters who appeared on more than one occasion – not one-off guest stars. And as with my previous list on this topic, these are characters I’d like to see return to the franchise in a general sense, not characters I’m predicting will appear in any specific upcoming show or film.
As always, I have no “insider information!” This is purely for fun and a chance to highlight some of these characters, as well as speculate about what their futures (or pasts) might be like beyond what we saw of them in their original appearances.
Number 1: Shran
We don’t know for sure how long Andorians live, but it’s at least a possibility that Shran – who appeared in Enterprise as an antagonist and later ally to Captain Archer – could still be alive in the 23rd Century. If he is he’d be well over 100 years old, but that doesn’t necessarily count against characters in Star Trek!
Jeffrey Combs played Shran, and also played recurring characters Brunt and Weyoun on Deep Space Nine. As someone who has close ties to the franchise, it would be wonderful to bring him back. It was amazing to hear JG Hertzler’s voice in Lower Decks last year, and it would be amazing to welcome back Jeffrey Combs as well.
Shran offers the Star Trek franchise an opportunity to tie in Enterprise in a significant way. At the moment, Enterprise is very much an outlier in the Star Trek canon; cut off all on its own in the 22nd Century. Despite there being opportunities in the three films and two seasons of television set in the 23rd Century, only the briefest references to Enterprise have been made since it went off the air in 2005.
Strange New Worlds is the prime candidate for Shran to reappear, but if the untitled Section 31 series uses a 23rd Century setting, he could potentially appear there as well. Shran was depicted primarily as a soldier, but the passage of time could have softened that side of him, and I would love to see him occupy a less-aggressive role, perhaps as a Federation ambassador. However, if there were a story featuring the Andorians in a major way, we could certainly see him included there as well.
Number 2: Garak
We got to know Garak very well across the latter part of Deep Space Nine, and his backstory as a spy was given plenty of attention. What we don’t know, of course, is what came next – what happened to Garak after the Dominion War was over?
Sooner or later, I hope Star Trek takes us back to Bajor and Cardassia in a major way, looking at the aftermath of that conflict. I know that the Dominion War wasn’t wildly popular with everyone – some of my Trekkie friends regard it as the worst part of ’90s Star Trek! But it was a major event in the fictional history of the franchise, one which seriously impacted the Federation. Exploring its aftermath, and looking at how the Federation managed to rebuild, would be worth doing.
Garak was last seen on Cardassia Prime at the end of the Dominion War. With Damar dead and the Dominion withdrawing, it’s possible he would have been in some kind of leadership role, at least temporarily. His years living with the Federation on DS9 would have put him in a unique position to liaise between Cardassia and the Federation alliance.
However, I don’t think Garak would have necessarily stayed in a leadership position. As a former agent of the Obsidian Order he represents Cardassia’s past – an empire governed from the shadows. Having fought hard to overthrow their Dominion oppressors, the Cardassians may have wanted to look to civilian leadership. I doubt Garak would have been re-exiled or returned to DS9, but may have gone into quiet retirement instead.
Number 3: Morn
Morn was really just a background character in Deep Space Nine, but the fun alien design was unique and made him instantly recognisable. As a result he became a somewhat ironic fan favourite, and ultimately got his own episode in Season 6: Who Mourns for Morn? Though he never spoke a line in the series, Morn was a significant character at points, and during the Dominion War smuggled information to the Federation from the occupied station, allowing for the success of Operation Return.
In at least one future timeline, Morn took over Quark’s bar, so perhaps a story that revisited DS9 could see him in that role. If Quark’s is still around, perhaps Morn is simply seen there as a regular patron – he appeared to be semi-retired, after all. Even if a return to DS9 simply saw him in his familiar background role, that would be good enough!
Who Mourns for Morn already explained a lot of his backstory, so there really isn’t a lot of room to go into more detail in that regard. A story that brought back almost any of the Deep Space Nine cast could include Morn, though, perhaps as a trusted confidante. With Picard and the crew of La Sirena operating outside of Starfleet, if they found themselves in Bajoran space perhaps they’d need someone like Morn – he seems like the type who could be very helpful at flying under the radar!
Maybe this would completely ruin things, but I would dearly love to see Morn speak if he did return. Even a single line of dialogue would be more than enough! I’m sure some fans will scream and say “no! Leave Morn alone!” but I think it could be a really sweet moment if done well. If we did return to DS9, seeing Morn sitting on his usual barstool would feel like a homecoming of sorts – almost as though no time had passed.
Number 4: Naomi Wildman
Naomi Wildman made 19 appearances across Voyager, the majority of which came in Seasons 5 and 6. The show tried to explore the idea of her being the only child on a ship full of adults, but only really managed to land that kind of story once – in the episode Once Upon A Time. The introduction of Icheb and the other ex-Borg children potentially gave Naomi playmates, but we never truly saw much of this. And on at least one occasion, Naomi was not included in a story that focused on the Borg children – the episode The Haunting of Deck Twelve.
As a character who quite literally grew up in space, and aboard the lost USS Voyager no less, Naomi may have a rather unique perspective after growing up. How did she react to Voyager’s return to Earth – which would have happened when she was around six years old? In at least one future timeline she’d joined Starfleet, but whether she’d do so in the prime timeline is unknown.
Naomi had a close relationship with Seven of Nine, who is currently a recurring character in Picard. She was also close with Icheb, who we know was killed a few years prior to the events of Picard. Exploring her post-Voyager relationships with those two characters could prove very interesting. If Picard Season 2 – or any future seasons of the show – spend more time with Seven, we could be reintroduced to Naomi and learn what she’s been up to.
The death of Icheb, if explored in more detail, could also be an opportunity to bring her back. Did they remain in touch after returning to the Alpha Quadrant? Icheb joined Starfleet – did Naomi join too? If so, maybe they served together before Icheb’s untimely demise. Otherwise we could see Naomi return in any story featuring main cast members from Voyager. So perhaps an appearance in Prodigy – where Captain Janeway is set to return – is on the cards?
Number 5: Jack Crusher
Jack Crusher was the deceased husband of Dr Beverly Crusher and father to Wesley Crusher. He served on the USS Stargazer under Captain Picard’s command, and that’s about all we know. He was killed during an away mission, and it was at least implied that Picard bears a degree of responsibility for that, either through something he did or didn’t do.
As a deceased character, Jack Crusher could only come back via a flashback, time-travel story, or story set in the past. But where I think there’s scope to see more of him is in Star Trek: Picard, particularly if Beverly and/or Wesley Crusher return. We could learn the circumstances of his death, and it could be a very interesting story if Jack Crusher’s death were somehow connected to some event taking place in the current Picard era.
For example, Picard, Dr Crusher, and the crew of La Sirena may have to travel to the world where Jack was killed, only to learn that the beings responsible for his death were the super-synths, the Zhat Vash, or someone else that we met in the new series. There would be something cyclical about bringing back, even if just in flashback form, Jack Crusher.
In the future timeline shown in The Next Generation’s finale, Picard had married Dr Crusher. While there was no evidence for or against that outcome in Picard Season 1, any story that explores Picard and Dr Crusher’s post-Nemesis relationship could be made to include flashbacks to Jack. He was a significant character in both of their lives, and in addition, his legacy may have been a factor in Picard and Dr Crusher never taking their relationship beyond friendship in the prime timeline. A story that took them back to his death could be interesting for both of them.
So that’s it! Five recurring or secondary characters who I believe could be welcomed back to the Star Trek franchise in some form.
This was the second part of a two-part miniseries looking at the possibility for certain characters to reappear in the franchise. It’s unlikely to be the last time we talk about such things – with so many different Star Trek projects on the go, practically anyone from the past could come back in some capacity!
Aside from those who have been definitively killed off within the prime timeline, I would argue that basically any character could return. Not all of them would be suitable for the current crop of shows, but if the franchise continues its renaissance… who knows? Maybe we’ll finally get Star Trek: Morn after all!
The Star Trek franchise – including all series mentioned above – is available to stream now on Paramount+ in the United States and other territories where the service exists, and on Netflix in the United Kingdom and elsewhere. The Star Trek franchise – including all properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
The first home console I owned – after saving up my hard-earned pocket money and pestering my parents for ages – was a Super Nintendo. Gaming has changed a lot since then, and while many of those changes have been fantastic and introduced us to new genres, not every change has been for the better! In this list I’m going to cover some of my biggest pet peeves with video games in 2021.
As always, this list is entirely subjective. If I criticise something you like, or exclude something you hate, just keep in mind that this is only one person’s opinion. Gaming is a huge hobby that includes many people with many different perspectives. If yours and mine don’t align, that’s okay!
Number 1: No difficulty options.
Some people play video games because they love the challenge of a punishingly-difficult title, and the reward of finally overcoming an impossible level after hours of perseverance. I am not one of those people! In most cases, I play video games for escapism and entertainment – I want to see a story unfold or just switch off from other aspects of my life for a while. Excessive difficulty is frustrating and offputting for me.
As someone with health issues, I would argue that difficulty settings are a form of accessibility. Some people don’t have the ability to hit keys or buttons in rapid succession, and in some titles the lack of a difficulty setting – particularly if the game is not well-balanced – can mean those games are unavailable to folks with disabilities.
While many games are too difficult, the reverse can also be true. Some titles are just too easy for some people – I’m almost never in that category, but still! Games that have no difficulty settings where the base game is incredibly easy can be unenjoyable for some folks, particularly if the challenge was what got them interested in the first place.
In 2021, most games have difficulty options as a standard feature. Difficulty settings have been part of games going back decades, and in my opinion there’s no technical reason why they shouldn’t be included. There’s also not really a “creative” reason, either. Some developers talk in grandiose terms about their “vision” for a title being the reason why they didn’t implement difficulty options, but as I’ve said before – the inclusion of an easier (or harder) mode does not impact the game at all. It only impacts those who choose to turn it on, and considering how easy it is to implement, I find it incredibly annoying when a game is deliberately shipped without any difficulty options.
Number 2: Excessive difficulty as a game’s only selling point.
While we’re on the subject of difficulty, another pet peeve of mine is games whose entire identity is based on their difficulty (or perceived difficulty). Think about this for a moment: would Dark Souls – an otherwise bland, uninspired hack-and-slash game – still be talked about ten years after its release were it not for its reputation as impossibly difficult? How many late 2000s or early ’10s hack-and-slash games have dropped out of the cultural conversation? The only thing keeping Dark Souls there is its difficulty.
A challenge is all well and good, and I don’t begrudge players who seek that out. But for me, a game has to offer something more than that. If there’s a story worth telling under the difficult gameplay I’m impressed. If the difficult, punishing gameplay is all there is, then that’s boring!
Difficulty can also be used by developers as cover for a short or uninteresting game. Forcing players to replay long sections over and over and over can massively pad out a game’s runtime, and if that’s a concern then cranking the difficulty to ridiculous levels – and offering no way to turn it down – can turn a short game into a long one artificially.
I’m all for games that offer replay value, but being forced to replay the same level or checkpoint – or battle the same boss over and over – purely because of how frustratingly hard the developers chose to make things simply isn’t fun for me.
Number 3: Ridiculous file sizes.
Hey Call of Duty? Your crappy multiplayer mode does not need to be 200 gigabytes. Nor does any game, for that matter. It’s great that modern technology allows developers to create realistic-looking worlds, but some studios are far better than others when it comes to making the best use of space! Some modern games do need to be large to incorporate everything, but even so there’s “large” and then there’s “too large.”
For a lot of folks this is an issue for two main reasons: data caps and download speeds. On my current connection I’m lucky to get a download speed of 7 Mbps, and downloading huge game files can quite literally take several days – days in which doing anything else online would be impossibly slow! But I’m fortunate compared to some people, because I’m not limited in the amount of data I can download by my ISP.
In many parts of the world, and on cheaper broadband connections, data caps are very much still a thing. Large game files can take up an entire months’ worth of data – or even more in some cases – making games with huge files totally inaccessible to a large number of people.
This one doesn’t seem like it’s going away any time soon, though. In fact, we’re likely to see file sizes continue to get larger as games push for higher resolutions, larger environments, and more detail.
Number 4: Empty open worlds.
Let’s call this one “the Fallout 76 problem.” Open worlds became a trend in gaming at some point in the last decade, such that many franchises pursued this style even when it didn’t suit their gameplay. Read the marketing material of many modern titles and you’ll see bragging about the size of the game world: 50km2, 100km2, 1,000km2, and so on. But many of these open worlds are just empty and boring, with much of the map taken up with vast expanses of nothing.
It is simply not much fun to have to travel across a boring environment – or even a decently pretty one – for ages just to get to the next mission or part of the story. Level design used to be concise and clever; modern open worlds, especially those which brag about their size, tend to be too large, with too little going on.
The reason why Fallout 76 just encapsulates this for me is twofold. Firstly, Bethesda droned on and on in the weeks before the game’s release that the world they’d created was the “biggest ever!” And secondly, the game had literally zero non-player characters. That huge open world was populated by a handful of other players, non-sentient monsters, and nothing else. It was one of the worst games of the last few years as a result.
Open worlds can work well in games that are suited for that style of gameplay. But too many studios have been pushed into creating an open world simply to fit in with a current trend, and those open worlds tend to just flat-out suck because of it. Even when developers have tried to throw players a bone by adding in collect-a-thons, those get boring fast.
Number 5: Pixel graphics as a selling point.
There are some great modern games that use a deliberately 8-bit look. But for every modern classic there are fifty shades of shit; games that think pixel graphics and the word “retro” are cover for creating a mediocre or just plain bad title.
It may be hard to remember, but there was a time when the idea of using a deliberately “old-school” aesthetic would have been laughed at. The first few console generations were all about improvements, and I’m old enough to remember when 3D was a huge deal. It seemed like nobody would ever want to go back to playing a SNES game after trying the Nintendo 64, and while there are still plenty of gamers who love the retro feel, I’m generally not one of them.
That isn’t to say that realistic graphics should be the only thing a game strives for. And this point works for modern graphics or visual styles in general – bragging about how detailed the graphics are, or how unique a title’s art style is, means nothing if the game itself is shit. But it likewise works for pixel-graphics games – an outdated art style does not compensate for or cover up a fundamentally flawed, unenjoyable experience.
Games with pixel graphics can be good, and many titles have surprised me by how good they are. I’ve written before about how Minecraft surprised me by being so much more than I expected, and that’s one example. But I guess what I’d say is this: if your game looks like it should have been released in 1991, you’ve got more of an uphill battle to win me over – or even convince me to try it in the first place – than you would if your game looked new.
Number 6: Unnecessary remakes.
We called one of the entries above “the Fallout 76 problem,” so let’s call this one “the Mass Effect: Legendary Edition problem.” In short, games from even ten or fifteen years ago still look pretty good and play well. There’s far less of a difference between games from 2011 and 2021 than there was between games from 1991 and 2001 – the pace of technological change, at least in gaming, has slowed.
“Updating” or “remaking” a game from ten years ago serves no real purpose, and in the case of Mass Effect: Legendary Edition I’ve struggled at times to tell which version of the game is the new one when looking at pre-release marketing material. There’s no compelling reason to remake games that aren’t very old. Re-release them or give them a renewed marketing push if you want to drum up sales or draw attention to a series, but don’t bill your minor upgrade as a “remake.”
There are some games that have benefitted hugely from being remade. I’d point to Crash Bandicoot and Resident Evil 2 as two great examples. But those games were both over twenty years old at the time they were remade, and having been released in the PlayStation 1 era, both saw massive upgrades such that they were truly worthy of the “remake” label.
I’ve put together two lists of games that I’d love to see remade, but when I did so I deliberately excluded titles from the last two console generations. Those games, as I said at the time, are too recent to see any substantial benefits from a remake. In another decade or so, assuming sufficient technological progress has been made, we can talk about remaking PlayStation 3 or PlayStation 4 games – but not now!
Number 7: Fake “remakes.”
On a related note to the point above, if a title is billed as a “remake,” I expect to see substantial changes and improvements. If all that’s happened is a developer has run an old title through an upscaler and added widescreen support, that’s not a remake!
A lot of titles that acquire the “HD” suffix seem to suffer from this problem. Shenmue I & II on PC contained a number of bugs and glitches – some of which existed in the Dreamcast version! When Sega decided to “remake” these two amazing games, they couldn’t even be bothered to patch out bugs that were over fifteen years old. That has to be some of the sloppiest, laziest work I’ve ever seen.
There are other examples of this, where a project may have started out with good intentions but was scaled back and scaled back some more to the point that it ended up being little more than an upscaled re-release. Kingdoms of Amalur: Re-Reckoning springs to mind as an example from just last year.
Remakes are an opportunity to go back to the drawing board, fix issues, update a title, and bring it into the modern world. Too many “remakes” fail to address issues with the original version of the game. We could even point to Mass Effect: Legendary Edition’s refusal to address criticism of the ending of Mass Effect 3 as yet another example of a missed opportunity.
Number 8: The “release now, fix later” business model.
This isn’t the first time I’ve criticised the “release now, fix later” approach taken by too many modern games – and it likely won’t be the last! Also known as “live services,” games that go down this route almost always underperform and draw criticism, and they absolutely deserve it. The addition of internet connectivity to home consoles has meant that games companies have taken a “good enough” approach to games, releasing them before they’re ready with the intention to patch out bugs, add more content, and so on at a later time.
Cyberpunk 2077 is one of the most recent and most egregious examples of this phenomenon, being released on Xbox One and PlayStation 4 in a state so appallingly bad that many considered it “unplayable.” But there are hundreds of other examples going back to the early part of the last decade. Fortunately, out of all the entries on this list, this is the one that shows at least some signs of going away!
The fundamental flaw in this approach, of course, is that games with potential end up having launches that are mediocre at best, and when they naturally underperform due to bad reviews and word-of-mouth, companies panic! Planned updates are scrapped to avoid pumping more money into a failed product, and a game that could have been decent ends up being forgotten.
For every No Man’s Sky that manages to claw its way to success, there are a dozen Anthems or Mass Effect: Andromedas which fail. Time will tell if Cyberpunk 2077 can rebuild itself and its reputation, but its an uphill struggle – and a totally unnecessary one; a self-inflicted wound. If publishers would just wait and delay clearly-unfinished games instead of forcing them to meet arbitrary deadlines, gaming would be a much more enjoyable hobby. Remember, everyone: NO PRE-ORDERS!
Number 9: Forcing games to be multiplayer and/or scrapping single-player modes.
Some games are built from the ground up with multiplayer in mind – but many others are not, and have multiplayer modes tacked on for no reason. The Last Of Us had an unnecessary multiplayer mode, as did Mass Effect 3. Did you even know that, or notice those modes when you booted up those story-focused games?
Some games and even whole genres are just not well-suited to multiplayer. And others that are still have the potential to see single-player stories too. Many gamers associate the first-person shooter genre with multiplayer, and it’s true that multiplayer games work well in the first-person shooter space. But so do single-player titles, and aside from 2016’s Doom and the newer Wolfenstein titles, I can’t think of many new single-player first-person shooters, or even shooters with single-player modes that felt anything other than tacked-on.
Anthem is one of the biggest failures of the last few years, despite BioWare wanting it to be the video game equivalent of Bob Dylan. But if Anthem hadn’t been multiplayer and had instead maintained BioWare’s usual single-player focus, who knows what it could have been. There was potential in its Iron Man-esque flying suits, but that potential was wasted on a mediocre-at-best multiplayer shooter.
I started playing games before the internet, when “multiplayer” meant buying a second controller and plugging it into the console’s only other available port! So I know I’m biased because of that. But just a few short years ago it felt as though there were many more single-player titles, and fewer games that felt as though multiplayer modes had been artificially forced in. In the wake of huge financial successes such as Grand Theft Auto V, Fortnite, and the like, publishers see multiplayer as a cash cow – but I wish they didn’t!
Number 10: Early access.
How many times have you been excited to see that a game you’ve been waiting for is finally available to buy… only to see the two most awful words in the entire gaming lexicon: “Early Access?” Early access billed itself as a way for indie developers to get feedback on their games before going ahead with a full release, and I want to be clear on this point: I don’t begrudge indie games using it for that purpose. Indies get a pass!
But recently there’s been a trend for huge game studios to use early access as free labour; a cheap replacement for paying the wages of a quality assurance department. When I worked for a large games company in the past, I knew a number of QA testers, and the job is not an easy one. It certainly isn’t one that studios should be pushing off onto players, yet that’s exactly what a number of them have been doing. Early access, if it exists at all, should be a way for small studios to hone and polish their game, and maybe add fan-requested extras, not for big companies to save money on testers.
Then there are the perpetual early access games. You know the ones: they entered early access in 2015 and are still there today. Platforms like Steam which offer early access need to set time limits, because unfortunately some games are just taking the piss. If your game has been out since 2015, then it’s out. It’s not in early access, you’ve released it.
Unlike most of the entries on this list, early access started out with genuinely good intentions. When used appropriately by indie developers, it’s fine and I don’t have any issue with it. But big companies should know better, and games that enter early access and never leave should be booted out!
Bonus: Online harassment.
Though this problem afflicts the entire internet regardless of where you go, it’s significant in the gaming realm. Developers, publishers, even individual employees of games studios can find themselves subjected to campaigns of online harassment by so-called “fans” who’ve decided to take issue with something in a recent title.
Let’s be clear: there is never any excuse for this. No game, no matter how bad it is, is worth harassing someone over. It’s possible to criticise games and their companies in a constructive way, or at least in a way that doesn’t get personal. There’s never any need to go after a developer personally, and especially not to send someone death threats.
We’ve seen this happen when games are delayed. We’ve seen it happen when games release too early in a broken state. In the case of Cyberpunk 2077, we’ve seen both. Toxic people will always find a reason to be toxic, unfortunately, and in many ways the anonymity of the internet has brought out the worst in human nature.
No developer or anyone who works in the games industry deserves to be threatened or harassed. It’s awful, it needs to stop, and the petty, toxic people who engage in this scummy activity do not deserve to be called “fans.”
So that’s it. Ten of my pet peeves with modern gaming.
This was a rant, but it was just for fun so I hope you don’t mind! There are some truly annoying things – and some truly annoying people – involved in gaming in 2021, and as much fun as playing games can be, it can be a frustrating experience as well. Some of these things are fads – short-term trends that will evaporate as the industry moves on. But others, like the move away from single-player games toward ongoing multiplayer experiences, seem like they’re here to stay.
Gaming has changed an awful lot since I first picked up a control pad. And it will continue to evolve and adapt – the games industry may be unrecognisable in fifteen or twenty years’ time! We’ll have to keep our fingers crossed for positive changes to come.
All titles mentioned above are the copyright of their respective developer, publisher, and/or studio. Some stock images courtesy of pixabay. Some screenshots and promotional artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Fans of Sony’s PlayStation 3, PSP, and Vita consoles have been disappointed to learn in recent days that the PlayStation Store (Sony’s digital shop) will no longer be available on those machines later this year. It makes sense – the PlayStation 3 is fifteen years old this year, and an entire console generation has come and gone since it was last relevant. But we’ll look at that in a moment. What surprised me is the frankly hysterical reaction from some PlayStation super-fans who seem to think – and in the cases of some content creators have told their large audiences – that Sony is about to “delete all of their digital games!”
This is absolutely not true.
Sony shutting down the PlayStation Store on these older consoles doesn’t mean that players will lose games that they have downloaded. They won’t be deleted from the system, nor will they suddenly become impossible to boot up. All it means is that buying any additional titles won’t be possible; PlayStation 3, PSP, and Vita players looking to add to their collections will have to do so with physical discs and cartridges in future.
That’s all.
Sony’s PlayStation 3 console arrived on the scene in 2006.
Sony has been generous to support all three machines digitally for as long as they have. Maintaining a digital shop on three different, out-of-date systems is not free, and even just patching security issues and exploits takes time and costs money. Considering that the number of people using these older systems’ shops must be absolutely minuscule by now, it was probably veering close to loss-making territory just to keep them in working order.
Sony has been badly hurt in the past by exploits in the PlayStation Store. In 2011, a hack exposed millions of users’ information, including credit card and bank numbers, as well as other personal information. This hack was hugely damaging to Sony’s brand, and left the PlayStation Network offline for almost a month. For obvious reasons, Sony can’t afford a repeat of this, so shutting down the shops that hardly anyone is using on two old machines and one failure makes perfect sense.
The PlayStation Store handles users’ private information and financial information, so any exploits hackers find could potentially see a repeat of the 2011 attack. Even if Sony kept PlayStation 4 and 5 players’ data wholly separate, a hack could still expose the data of anyone who’d ever bought anything on PlayStation 3, PSP, or Vita – and that’s an unacceptable risk.
The 2011 PlayStation hack made headlines around the world. Picture Credit: Channel 4 News via YouTube.
As technology improves, older, simpler systems become much more susceptible to this kind of cyber attack. Newer software is more sophisticated, and hackers are thus able to more easily break into older systems. This is why Microsoft has ended support for older versions of Windows, for example, because maintaining them and keeping them secure is increasingly a full-time job – and if practically nobody is using those systems, why bother?
That’s not to say that there won’t be consequences for this shutdown, though. Sony has not been great when it comes to backwards compatibility, either on PlayStation 4 or PlayStation 5, and there will be some older PlayStation 3 games that were either digital-only or only saw limited disc releases that will be much more difficult to access as a result of this decision. Indie titles like Fat Princess or the HD version of Marvel Vs. Capcom 2 are currently only available on PlayStation 3 digitally, and will no longer be available to purchase after the shop closes.
Likewise, a number of PSP and Vita titles that were digital-only will no longer be available.
The PlayStation Vita was Sony’s second attempt at making a handheld console.
However, as we have seen with older consoles like the SNES, Dreamcast, and PlayStation 2, emulation will still offer players a way to access most of these titles. Game preservation used to be a fairly niche activity, existing in a legal grey area, but nowadays a lot of people take it very seriously. There are still games that are entirely out of print, but you can find many copies of older games – even completely obscure titles released on unsuccessful hardware. There are functioning emulators already for PSP and PlayStation 3, and Vita emulation is being worked on. Give it a few years and most, if not all, of the digital-only titles on these systems will be preserved and available to play.
At the end of the day, this decision from Sony is going to disappoint a small number of gamers who still regularly use these older systems. But the vast majority of folks have already moved on; PlayStation 3 is now two generations out-of-date, PSP is older too, and hardly anyone bought a Vita. Sony is making a sensible business decision, and considering how long it’s been since any of these machines were relevant, it’s hardly one that can be said to be unexpected.
If you need to get any PlayStation 3, PSP, or Vita games digitally, you better get on with it!
Given that there has been this misinformation flying around about “games being deleted,” I wanted to add my two cents to the conversation and clarify that nobody is going to delete your games. If you buy a game and download it before the shops close – and at time of writing they are still open and accepting new purchases – you will literally notice nothing. All of those games will still be there on your console for as long as the machine itself lasts, and if you find yourself in possession of a rare, obscure title that you feel needs to be preserved for posterity and for the enjoyment of future generations, then I daresay you can figure out how to do so!
It’s always worth taking a deep breath when you hear news like this. Rationally think through what’s being said and try to figure out what’s really going on. “All PlayStation 3 Games Are Being Deleted!!!1!” may bring in a lot of clicks on social media, but it’s patently false. Promoters of such clickbait should be ashamed. And now you know the real story – buying new titles on those old machines will be impossible, but no one is going to delete your games.
The PlayStation brand – including PlayStation 3, PSP, and others mentioned above – is the copyright of Sony Interactive Entertainment. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
The first part of this review contains no major spoilers for Raya and the Last Dragon. The second part does, however, and the end of the spoiler-free section is clearly marked.
Raya and the Last Dragon is an expensive film right now, available only via Disney’s “premiere access” feature on Disney+ for £20 in the UK or $30 in the United States. My review of the film has to be seen through that lens, because it’s not simply a title you can watch as part of your regular Disney+ subscription – though it will surely become available on Disney+ in the coming months. If Raya and the Last Dragon follows the same path as last year’s Mulan, it may be available to stream as part of Disney+ in the summer.
So the big question is this: can I recommend it for £20? Or is Raya and the Last Dragon a title that you’re better off waiting for?
I’m kind of an impatient person! And because Raya and the Last Dragon was one of the titles I was most looking forward to this year, for me it was unquestionably worth it. Raya and the Last Dragon is a great animated film that easily hits the highs of other recent Disney projects. I don’t mind paying a little extra for that under the circumstances – it’s about the price of two or three cinema tickets, so if you consider it from that point of view, it doesn’t seem too bad.
But there’s no getting away from this price discussion, and I want to briefly add my two cents. On the one hand, it can seem unreasonable for Disney to insist on an additional £20 on top of the monthly fee for Disney+. If it were an either/or case it would perhaps sit better with folks, but being asked to either pay £20 on top of your £8 a month, or to have to sign up at £8 on top of the £20 to see Raya and the Last Dragon certainly feels anti-consumer, and I get why folks feel that way.
Raya and the Last Dragon was originally supposed to get a theatrical release.
I’m sick to the back teeth of companies using the pandemic as an excuse for everything, and there’s no denying that Disney could simply have waited and released Raya and the Last Dragon in cinemas either later this year or next year if needs be. That’s the approach taken by Eon and MGM for the upcoming James Bond film No Time To Die, which has been delayed for well over a year. However, despite all of that, I like this method of distribution, and I think we’re seeing the beginnings of a shift away from theatrical releases in favour of streaming.
My health and disability means that I can no longer go to the cinema, so from my selfish perspective I love the idea of bringing more titles straight to streaming platforms, and on an occasional basis for a big release that I’m very keen to see, paying a little extra to watch it is no big deal. As television screens get better (and bigger) the so-called “cinema experience” offers less and less value anyway, and being able to watch a film on one’s own schedule, with the ability to pause, rewind, take breaks, etc. is so much nicer than going to the cinema in many ways. So in my opinion, bringing Raya and the Last Dragon to Disney+ for a fee is acceptable. Would I have preferred it to be included in the price? Of course. But these projects are hugely expensive, and recouping some of that money is going to be necessary for Disney, so I understand why they’ve done it this way. It feels like a compromise – not one that everyone will love, but one I find acceptable.
Young Raya during the film’s opening moments.
Before we get into the main section of the review, here are my spoiler-free thoughts.
I would describe the animation as competent. Nothing blew me away with how amazingly detailed it was – like the snow in Frozen or the oceans in Moana did – but there was nothing wrong with it and it was in line with other modern Disney films from the last decade or so. Considering a significant portion of the work on Raya and the Last Dragon was done remotely, that’s pretty good in my opinion.
The story was surprisingly heavy and emotional for a kids’ film, and it was thoroughly enjoyable. In the first few minutes it was perhaps a little fast-paced for my liking, dropping quite a few characters, locations, and themes all at once. But after that fast beginning it settled in, and followed Raya on her quest at a reasonable pace that wasn’t overwhelming. There were light-hearted and comedic moments, plenty of different environments for Raya and her friends to explore that were all based on different parts of southeast Asia, and the vocal performances were outstanding. Aside from the credits there weren’t any musical numbers, and that was something I wasn’t expecting. The score was great, and had an Asian-inspired theme to it, but after the likes of Moana and Frozen in recent years saw huge success with their songs, I was expecting at least a couple.
So that’s my non-spoiler summary.
This is the end of the spoiler-free section of the review. Expect spoilers from here on out!
Raya and the Last Dragon began with an immediate dump of exposition, explaining the backstory of the broken land of Kumandra – based loosely on southeast Asia. As indicated above, this opening section of the film was quite fast-paced, almost rushed, and introduced characters, themes, magic, locations, and backstory all at once. As I sat through those opening minutes I was hoping that the rest of the film would slow down, and luckily it did after a few minutes. That makes the opening, unfortunately, the weakest part of the film overall.
Raya and the Last Dragon follows the titular Raya as she seeks to save the fractured world of Kumandra, whose people have split up into five competing, squabbling, and warring lands in the aftermath of the disappearance of the dragons. But saving the world is just a side-quest for Raya, whose real objective for much of the film is to save her “ba” – her father, and the chief of her people. Yes, that makes Raya a Disney Princess!
Chief Benja, Raya’s father.
The story takes Raya to all five of the different lands, and each was based on a different area of southeast Asia. We spent just enough time in each land to take in the setting, but I think that taking a few minutes more to really get a feel for each – or perhaps the film including one fewer land – might’ve improved things. This is really the only point of criticism, because each of the lands was unique and richly detailed. At first I wasn’t sold on using English names for these places: Fang, Heart, Spine, Tail, and Talon. However, the metaphor made the ultimate payoff to the film’s story more easily understood, especially for younger viewers. The point of these names was to hammer home, at every opportunity, that the people of Kumandra were artificially divided; that the resolution to their problems would be in learning to trust one another and come together. Like the parts of an animal can’t function independently, neither can the peoples of Kumandra. Each land, represented by a piece of the dragon, brings something that the others lack, and working together is the only way.
This theme carried over into the film’s climactic final battle, as each of the friends Raya had made along the way – each from a different land – stood together and used the last of the dragon gem’s magic to help the people of Fang. This metaphor was certainly omnipresent, but didn’t feel laboured. The film knew, from the very beginning when Chief Benja introduced us to the idea of reunifying the fractured land, that this was the direction of the story. The names of the lands fed into that, as did the way Raya assembled her motley crew from different places.
Raya’s friends work together to help the people of Fang.
At time of writing, there’s a renewed focus on anti-Asian hate and hate crimes in the United States. I’m not an American, but I’d like to offer my perspective on how a film like Raya and the Last Dragon fits at this moment. We often hear criticism of Disney for taking legends and stories and twisting them, “Disney-fying” them to sanitise them for a western audience. And you know what? Raya and the Last Dragon, just like other Disney films based on folklore and legend, is Disney-fied. But there’s incredible value in representation, even in this simplified style, and with Disney’s unique reach that extends across borders, cultures, and ages, Raya and the Last Dragon offers representation to an under-represented group of people in cinema, animation, and the cultural mainstream.
We could devote an entire essay to debunking the argument that “representation and diversity for their own sakes are negative things,” but in the context of this film, coming at this particular moment, let me just say that positive representation is important. It’s important that people of all backgrounds feel included, and being depicted positively in mainstream entertainment – particularly in something as significant as a Disney animated film – is an historic moment. Raya and the Last Dragon draws on the mythology and folklore of southeast Asia in the same way as Moana drew on Polynesian legend, and it’s a net positive for people of Asian heritage to see such representation.
Raya and the Last Dragon presents a positive depiction of Asia and Asian people at an important moment.
Kelly Marie Tran is also uniquely positioned at this moment. Tran suffered horrible racist and sexist abuse online in late 2017 through 2018, and I’m so pleased to see her back in such an inspiring role. Raya and the Last Dragon is a story about bringing people together, learning to trust and overcome hatred, and as someone who has, sadly, experienced hatred firsthand, there’s something even more powerful in knowing who it is bringing Raya to life through an outstanding voice performance.
I don’t like to get “political,” but the release of Raya and the Last Dragon happened to coincide with a significant moment for people of Asian heritage in the United States, and I felt it important to at least acknowledge that.
Kelly Marie Tran voices the character of Raya. Picture Credit: Jimmy Kimmel Live via YouTube.
In the west, we usually associate dragons with fire. Fire-breathing dragons are both a part of European folklore and have gone on to become a trope in fantasy fiction, so it was very interesting – and more than a little unusual – to see a water dragon as the main focus in a dragon-themed film. This is, of course, a reflection of the film’s Asian-inspired story, as was the design of Sisu herself.
Continuing the theme of breaking with common western depictions of dragons, Sisu is presented in an Asian style – a long body, no wings, and covered in fur. Sisu’s design is a Disney take on that concept, blunting its sharp edges and making it child-friendly. And it worked. I daresay Sisu toys and teddies will become a major part of Disney’s merchandise this year and beyond!
Sisu had a great design, inspired by Asian folklore but with a Disney twist.
The other character with a cute design was Tuk Tuk, and right from the opening moments of the film it was clear he’d been designed to be the cute animal sidekick that so many Disney protagonists have. Tuk Tuk worked best in the film’s prologue, after which he’d grown large and basically served as a form of transportation for Raya and Sisu, though the design remained largely the same.
With Tuk Tuk I think we can point to one of the few examples of Raya and the Last Dragon stumbling, at least somewhat. Aside from having a cute (and merchandisable) design, Tuk Tuk was clearly set up for some light-heartedness; some comic relief. Yet the introduction of Noi (the baby) and her three monkeys largely switches the comic relief focus away from him. It’s not a case of “too many characters,” but rather that the film didn’t really know what to do with two sets of comic relief characters. There was less for Tuk Tuk to do as a result.
Raya and Tuk Tuk near the beginning of the film.
The only other point of criticism I have comes at one of the film’s climactic moments. Raya and her friend-turned-nemesis Namaari are involved in a standoff. Namaari planned to take Sisu and the dragon gem pieces back to Fang on her mother’s orders, and Raya drew her sword to stop her. As Namaari points her crossbow at Sisu, Sisu asks Raya to trust that she knows what she’s doing – but Raya doesn’t, and the result is that Namaari’s crossbow fires, killing Sisu.
This moment was meant to show that Raya is the one who bears most responsibility for Sisu’s death; that if she had trusted Sisu, as Sisu asked her to, Namaari was about to stand down. But it simply wasn’t clear that that was the case, and it would be easy for a casual viewer – or a child, and this is a children’s film, after all – to simply see this moment as Namaari shooting Sisu.
Who was really responsible for pulling the trigger?
For such an important moment, I think it needed to be clearer that Raya is the one to blame. This is her character arc across the film’s final act: learning to trust, and being willing to make the first step to establish trust. If we as the audience see this moment as the culmination of Raya’s failings – an unwillingness to trust either Sisu or Namaari – then the rest of her actions and her arc make sense. If we miss that crucial context and simply see this moment as Namaari the betrayer shooting Sisu, what Raya does later on – giving up her pieces of the dragon gem to signify her willingness to trust – doesn’t make as much sense in context.
Namaari’s words to Raya during their epic final fight also ring hollow when the film is seen in this way. Instead of a heartbroken Namaari laying a harsh truth on Raya, it could be interpreted as another attempt by a liar and trickster to get under Raya’s skin. The moment with the crossbow was set up perfectly, but it was too easy to miss that it was Raya, not Namaari, who was really to blame for what happened, and as the rest of the plot turned on this moment I think that should have been much clearer.
Raya chose to trust Namaari at the film’s climax.
We could also talk about how easy it seems to be to slay a dragon in this film’s lore! It seems like an unimportant point, and perhaps I’m the only one who cares or feels this way, but the way the film treated dragons across the first hour or more made it seem as though they’re magical, almost god-like creatures. The way the film’s human characters worship Sisu – and the other dragons – represents this well. Yet all it took to kill Sisu was a single crossbow shot, and I guess what I’m trying to say is that it doesn’t seem to gel. On the one hand we have the film establishing dragons as magical creatures that provided for humans, bringing water and literally giving life to the world, being worshipped and deified centuries after the last of them were wiped out. Yet on the other hand, they’re no different from any other animal and a single crossbow bolt can kill them.
Perhaps this is my western perspective, thinking about dragons not in the context of Asia but in the context of JRR Tolkien and other works of high fantasy. In western dragon lore going all the way back to the legends of Saint George and King Arthur, slaying a dragon is considered an incredibly difficult task worthy of song and celebration. In the world of Raya and the Last Dragon it seems to be something any competent soldier could do. Who knows, maybe that’s why the other dragons went extinct!
Namaari the dragon-slayer!
Raya and the Last Dragon features a cast whose major characters are all female, with male characters in secondary supporting roles. This is something new to Disney, as even past female-led films like Moana, Frozen, or Mulan have included major male characters. The creative choice to have both the main hero and villain both be female actually works really well, and Raya manages to have a closer relationship with Namaari as a result.
Namaari being a redeemable villain – and the film essentially having no overall “big bad” who has to be killed to be stopped – was also a great choice, one that fit perfectly with the theme of overcoming hate and coming together. The whole story of Raya and the Last Dragon was about learning to trust one another, setting aside differences in order to work together for the common good. This theme would have been completely undermined if the final act required Raya to kill Namaari or even her mother, so making both characters redeemable was essential to the story.
Namaari needed to be a redeemable villain for the story to work as intended.
The real villains of the piece were the non-human Druun, depicted as a non-sentient force of nature rather than a character or faction. The design of the Druun managed to strike a balance between being intimidating but not scary and offputting for young children, and I would think that all but the most sensitive children would be able to watch Raya and the Last Dragon without feeling frightened by these crackling clouds of dark purple energy.
More could have been made of the Druun’s relationship with humans. At one point it was suggested by Sisu that the Druun are an embodiment of the arguments and lack of trust between humans, yet this wasn’t really developed further. It’s not clear whether humans directly caused the Druun to appear, whether they came from someplace else to feed on this mistrust and hatred, or what their precise origins are. If the world of 500+ years ago was populated by humans and dragons and was united, with no mistrust and no hatred, how the Druun even arrived in Kumandra is not clear. Perhaps that’s something a future title will explore in more detail, because I think it’s potentially interesting to say that humanity is responsible for giving strength to this powerful foe.
The Druun were the main adversary for Raya and her friends to overcome.
So I think that’s about all I have to say. Raya and the Last Dragon was a thoroughly enjoyable film and a worthy successor to the likes of Frozen and Moana. Disney has been on a roll for almost a decade now, since the release of Frozen in 2013, and the hits keep coming. In the very short term I doubt that Raya and the Last Dragon will catch fire in the way Frozen did, largely because of the cost of accessing it on Disney+ via the “premiere access” feature. However, once the film becomes generally available that should change. In a few months’ time, when it arrives for all Disney+ subscribers, it should see a significant boost.
Unlike Frozen and Moana, the choice not to include musical numbers means that there can’t be a breakout song. Let It Go and, to a lesser extent, You’re Welcome and Shiny went on to not only define the films in which they featured, but arguably bring in more viewers. By “going viral” in a sense, the songs drew more attention to their respective films, and this is something Raya and the Last Dragon won’t have.
The main characters at the end of the film.
I had a great time with Raya and the Last Dragon. I can’t tell you whether you’ll get £20 or $30 worth of entertainment and enjoyment from the film, because such things depend on your budget and your perception of value. But this time, as a one-off and as something I won’t repeat for the rest of the year, I didn’t mind spending the extra money. I didn’t spend money on last year’s Mulan remake, and having seen the film subsequently I think that was the right call. But this time, for the latest Disney animated film, I think it was worth it. Raya and the Last Dragon was funny, emotional, and clever, and told a story about people coming together that is timeless. Its Asian roots shone through, and though some will surely argue that it was a dumbed-down version of Asian traditions, that’s Disney’s trademark style.
If you enjoyed previous Disney animated films, especially recent ones, I daresay you’ll have a good time with Raya and the Last Dragon.
Raya and the Last Dragon is available to stream now on Disney+ via the “premiere access” feature for an additional fee. Raya and the Last Dragon is the copyright of Disney Animation Studios and the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1, Star Trek: Discovery Season 3, and for other iterations of the franchise.
This is going to be the first part of a short two-part series in which I look at a few significant characters from past iterations of Star Trek that I would love to see return. Rather than tying these characters to a specific series, film, or ongoing project, this list is more general. I’m not advocating, for example, for any of these characters to necessarily appear in Picard or Strange New Worlds, but rather to return to the franchise at some point, when a suitable story could be written.
The Original Series Season 2 cast (without George Takei).
It goes without saying that practically every major character (at least those who weren’t killed off) could be brought back in some capacity, and with the franchise continuing to expand I think it’s increasingly likely that we’ll get some significant moments where characters reappear. For the sake of this list I’m not counting characters who are starring in shows that are currently in production, so I’ll be limited to characters from The Original Series, The Next Generation, Deep Space Nine, Voyager, Enterprise, and the films.
The Next Generation cast in Season 4 – plus Whoopi Goldberg as Guinan.
By my count there are 42 characters across those five series that we could call “major” – i.e. they regularly had their names listed in the main credits, and weren’t considered guest stars or just recurring secondary characters. This time I’m picking on just five, and my usual caveat applies: I don’t have any “insider information!” This is just a short list of characters that I think could be fun to bring back in some capacity, nothing more.
The Deep Space Nine cast in Season 4.
Of the 42 characters that occupied major starring roles in at least one season of the five aforementioned shows, I’m excluding five: James T Kirk from The Original Series, Data and Tasha Yar from The Next Generation, Jadzia Dax from Deep Space Nine, and Trip Tucker from Enterprise. All the exclusions are for the same reason: those characters have died in-universe. While there could be convoluted ways to bring back alternate versions (such as we saw with Sela, for instance) the original character can’t return after death.
The Season 2 cast of Voyager.
Though it may be controversial, I don’t believe that the death of an actor necessarily excludes a character from returning. The Kelvin films recast the entire main cast of The Original Series, and Star Trek: Picard recently recast a couple of legacy characters as well. So characters whose primary actors have passed away are still in contention.
Now that we’ve laid down the ground rules, let’s take a look at my choices.
Number 1: Chakotay
This one is inspired by the return of Seven of Nine in Season 1 of Picard. I’ve written about this before, but Seven’s return to Star Trek was cathartic for me, because the passage of time allowed her to be a very different, more emotional, and much more human character than she ever was in Voyager. Seven was sometimes annoying and difficult to root for, especially toward the end of Voyager’s run, and basically the reason was that she’d always seem to “reset” after learning what should have been a big and important lesson in how to be human. It made her character bland and repetitive. But we’re not here to talk about Seven of Nine!
Chakotay didn’t have a lot to do in Voyager, despite being the first officer. There were a handful of episodes in which he was given a storyline, but a lot of the time he was just a presence, someone there for other characters to bounce ideas off or to tell Captain Janeway he didn’t recommend she do something we all knew she’d end up doing anyway. In short, bringing back Chakotay is something I would see as a chance for his character to get a Seven of Nine-like “redemption,” with some genuine development and a significant storyline.
One thing Voyager touched on briefly but never really explored was the way Chakotay felt about the deaths of the Maquis. The episode Extreme Risk focused on B’Elanna as she struggled to come to terms with what happened to their former colleagues, but Chakotay never really got a similar moment. As part of a larger story looking at the aftermath of the Dominion War, learning what happened to the Maquis’ colonies in the aftermath of that conflict could include Chakotay, as one of those worlds was his home.
We could also learn that Chakotay was allowed to remain in Starfleet following Voyager’s return to the Alpha Quadrant, and may even have been given his own command. Given that Voyager quite quickly dropped the Maquis angle, I’m not sure this is the route I’d go down because it doesn’t seem like it offers a lot of development or growth potential for his character, but it’s a possibility.
The final few episodes of Voyager’s seventh season saw a burgeoning relationship building between Chakotay and Seven of Nine. With Seven now a recurring character in Picard, and with the possibility of her entering into a relationship with main character Raffi, we could potentially explore what happened between Seven and Chakotay. Voyager’s finale certainly suggested that he had strong feelings for her, even after her death in that timeline.
Unfortunately, for reasons that aren’t especially clear, the producers of Voyager lost interest in – or didn’t know what to do with – the “one ship, two crews” concept that had been part of the show’s inception. Chakotay and the rest of the Maquis were absorbed into the crew by midway through Season 1, and while lip service was paid to Chakotay’s Maquis past at numerous points, I think that’s one aspect of his background that would be ripe for exploration. In any 24th or early 25th Century story that looked at Bajor, Cardassia, and the aftermath of the Dominion War, I’d spend at least an episode or two considering the legacy of the Maquis, and Chakotay could play a major role in such a story.
Number 2: T’Pol
I’ve mentioned T’Pol before in relation to Strange New Worlds, and that series is certainly one where we could see her crop up. Because of Enterprise’s place in the timeline, unless Star Trek plans on returning to the 22nd Century for some other story, there aren’t many characters who could realistically still be active and able to play a major role. The 23rd and 24th Centuries (as well as Discovery’s 32nd Century) are where current Star Trek projects are focused – and I have to say I think that’s the right call. Enterprise was an interesting experiment, but I see no pressing need to return to the 22nd Century at this stage.
The story I’d include T’Pol in would go something like this: she’s a senior Federation ambassador by the mid-23rd Century, and accompanies Captain Pike on a diplomatic mission. The mission would make first contact with a race we met in The Next Generation era, such as the Cardassians. We’d thus tie together all three of Star Trek’s eras in one story! I think an episode like that would be incredibly rewarding for longstanding fans of the franchise; a “love letter” to the fans.
But there are many other roles T’Pol could occupy. Having spent so long with humans during those early days of humanity striking out into space, she could prove an invaluable guide or advisor to a young Spock. Whether Spock is “the first Vulcan in Starfleet” is a point of contention without an obvious answer, but even if he wasn’t it’s clear that the Vulcans continued to operate an independent fleet into the 23rd Century, and thus Vulcans serving in Starfleet seem to have been rare. T’Pol is well-placed to be a kind of mentor to Spock for this reason.
However, both of those story concepts take T’Pol out of her usual scientific role, and perhaps a story could be devised which would be better-suited to her career as a scientist. I’m still thinking of a 23rd Century story, but one which perhaps requires high-ranking Federation scientists to work on a mystery or puzzle.
Number 3: Dr Pulaski
I’ve never met a fan of The Next Generation who likes Dr Pulaski as much as I do. I understand why she wasn’t popular with fans, replacing Dr Crusher after one season and especially because of her early run-ins with Data that amounted to anti-android bigotry. But where Dr Crusher could be fairly bland, Dr Pulaski had a really strong personality that shone through.
On another occasion we’ll talk about Dr Pulaski and how her introduction in Season 2 of The Next Generation was an attempt to shake up the new series and bring in a Dr McCoy-type character. But for now I want to consider how she could return, and what sort of role she could have.
Picard Season 1 missed an opportunity to bring back Dr Pulaski – or another medical officer from The Next Generation like Alyssa Ogawa – in the second episode. Picard receives bad news from a doctor he knew while serving aboard the USS Stargazer, Dr Benayoun. This was a new character created for Picard, and if I’d been writing it I might have chosen to bring back Dr Pulaski at this moment instead. I don’t know if that was ever suggested, because it’s well-known that actress Diana Muldaur didn’t have a great time working on The Next Generation. But it would have been neat to see!
One series that has been doing great with references to less well-known parts of canon is Lower Decks, and perhaps that means Dr Pulaski would be a good fit to return there. I don’t know if Diana Muldaur is still working, nor whether she’d be well enough or willing to reprise the role. But it was at least a little sad that Dr Pulaski was dropped in The Next Generation Season 3 with no explanation. There’s scope, I feel, to learn what came next for her – even if the character has to be recast.
Almost any medical story or story involving characters from The Next Generation Season 2 could see Dr Pulaski return, and of course Star Trek: Picard has to be the prime candidate of the shows currently in production. She could, for example, be one of the chief medical officers assigned to help the surviving ex-Borg now that they’re (presumably) under Federation protection. Or how about this: in a storyline that clearly shows how much she’s changed her attitude to synthetic life, she could be the head of a Federation medical team sent to Coppelius to help the synths. This would cement her “redemption” from her earlier interactions with Data, and would perhaps provide a suitable epilogue to her role in The Next Generation Season 2.
Number 4: Benjamin Sisko
Captain Sisko is probably the character whose return I’ve touted the most! Because of the unique nature of his disappearance in the Deep Space Nine finale – vanishing into the realm of the Bajoran Prophets – he could return literally anywhere, in any time period. The Prophets don’t experience time in the same linear manner as humans, so they could send him to a point in his future, his past, or anywhere along the Star Trek timeline.
This is why I’ve proposed Sisko as a character who could appear in Picard, Strange New Worlds, and Discovery – because he could be sent back by the Prophets at any moment in time. I would argue he would have more to do in a story set in the late 24th or early 25th Centuries than he might in the 23rd or 32nd, but in any story that brought back Bajor, Sisko could play a major role.
He could also be part of a story looking at the aftermath of the Dominion War, at Cardassian relations with the Federation, and of course at Deep Space Nine itself. I think Sisko has the potential to be a useful character too. If he joined the story right at the moment of his return to normal spacetime, he could potentially be a point-of-view character, and an excuse for a film or episode to dump a lot of exposition that could otherwise feel clunky and out-of-place. This would be done under the guise of other characters bringing Sisko up to speed on what he’s missed – and we could catch up on galactic affairs right along with him!
Of all the characters on this list, Sisko is the one whose story feels the most unfinished. There was almost a cliffhanger ending to his role in Deep Space Nine, with a tease that one day he’ll be coming back. Whether we’ll ever see that on screen is another matter, of course, and Avery Brooks has seemed less willing to reprise the role than some other Star Trek actors. But you never know!
Number 5: Montgomery Scott
It would be relatively easy for Scotty to crop up in Strange New Worlds as a junior engineer – or in any other 23rd Century series, for that matter. But that’s not really what I’m proposing this time. That idea has merit, and I think I included Scotty in one of my character ideas lists for Strange New Worlds. However, this time what I’m suggesting is Scotty in the 24th Century.
Relics, the Season 6 episode of The Next Generation, established that Scotty had been kept alive in a form of transporter stasis of his own devising for over eighty years, finally rematerializing when the crew of the Enterprise-D encountered his crashed ship. After working briefly with Geordi La Forge, Captain Picard, and others, Scotty was given a shuttle and set out to explore the new century on his own. We would later learn in 2009’s Star Trek that Scotty had gone back to work, developing a method of “transwarp beaming” that became important to the plot of that film.
After that, however, what became of Scotty is a mystery. He had initially intended to retire, so did his stint with Starfleet continue? Or did he resume his planned retirement in the 24th Century, catching up on the eight decades of galactic history that he’d missed? He reunited with Spock, apparently, and it’s at least possible he would have been able to visit the elderly Dr McCoy as well.
Scotty offers a “coming out of retirement” story, perhaps prompted by some horrible event or disaster that requires an engineering solution. We could learn, for example, that he’d worked alongside Geordi La Forge in preparing the Romulan rescue fleet, or even that he was helping to rebuild the Mars shipyards after the attack by the Zhat Vash. Those are two ideas based on events from Picard Season 1, but of course there are many, many other ways Scotty could have contributed to Starfleet and the Federation in the late 24th Century.
So that’s it… at least for now. The second part of this short series will look at five secondary or recurring characters who I also think could be fun to bring back!
With so many ongoing and upcoming Star Trek projects occupying different places in the timeline, there really is scope to bring back almost any major character, and I hope the creative team don’t feel constrained! As a Trekkie I think I’d be happy with literally any of them making an appearance, though of course it would have to make sense in-universe as well as not be offputting for casual viewers.
The cast of Enterprise during Season 1.
We mentioned the episode Relics, and I think that story manages to walk that line exceptionally well. For fans of The Original Series, Scotty’s return was an amazing treat. But for folks who weren’t familiar with the older series, his inclusion in the episode still managed to make sense. The story was well-written, and while knowing more about who Scotty was and where he’d come from certainly added to it for Trekkies, it didn’t put off casual viewers by demanding a lot of knowledge of Star Trek canon. That’s the kind of model any future episode, film, or story that brings back a character should try to emulate.
We can also point to If Memory Serves, from the second season of Discovery. That episode began with a short recap of the events of The Cage, establishing what happened to Captain Pike on Talos IV, who the Talosians were, who Vina was, and so on. By beginning an episode which features a returning character with a clip or compilation of their past Star Trek exploits, almost any character could be integrated into an ongoing production.
The Discovery Season 1 cast (without Wilson Cruz).
The Star Trek franchise has been running for over five decades, and has a huge roster of wonderful characters. The fact that there are too many to put on the list – or the fact that the list could literally include every single one – is testament to the quality of the franchise and the creative teams who’ve contributed to it over the years.
Stay tuned for the next part in this series, where I’ll look at five secondary or recurring characters who I’d also love to see come back!
The Star Trek franchise – including all series mentioned above – is available to stream now on Paramount+ in the United States and other territories where the service exists, and on Netflix in the United Kingdom and elsewhere. The Star Trek franchise – including all properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
EA Play is bringing a huge library of new games to Microsoft’s Xbox Game Pass service! Because it’s been overshadowed by Microsoft’s recent acquisition of Bethesda, and the arrival of those games to Game Pass in recent weeks, this news seems to have flown under the radar. I almost missed this altogether, and it was only when I saw it on Twitter (of all places) that I realised what a monumental win this is for Microsoft, Game Pass, and quite frankly for subscribers as well.
I initially signed up for Game Pass for PC last year in order to play Forza Horizon 4, and it was well worth it! I’ve since played a few other games on there, and it’s easily value for money at £7.99 ($9.99 in the US) per month, in my opinion. One thing is clear, though, and that’s the fact that Microsoft has continued to invest heavily in the service. The addition of Bethesda’s lineup of titles brought the likes of Fallout 4, Skyrim, and Doom Eternal to Game Pass. And now EA Play has brought games like FIFA 21, Titanfall 2, The Sims 4, Star Wars Jedi: Fallen Order, and many others to the service, too. It seems all but certain that the upcoming Mass Effect: Legendary Edition will be available there as well – so maybe I’ll play it after all!
EA Play and Game Pass have struck a deal.
Game Pass has expanded rapidly, and continues to go from strength to strength. Right now, there’s no question that it’s the best way to get into current-gen gaming, and picking up a preowned Xbox One or – when availability improves – an Xbox Series S will mean that a huge library of games is available to even players on a limited budget. For less than the price of a Netflix subscription there are more games than I could play in an entire year, including some absolutely fabulous ones!
The only pang of regret I feel is because I’d bought a few of these games over on Steam! Of course if you’re worried about permanence it’s better to buy than subscribe, because it’s possible that EA Play and/or any of its games will be removed from the service in future. But just like we’ve seen happen with television and films thanks to the rise of streaming, many people are quite okay with that concept. Sure, losing access to a title is disappointing, and when Netflix removes a big name there’s often a minor backlash. But people have generally come to accept the impermanence of films and television shows on streaming platforms – so I daresay that will happen with games as well.
A few of the titles now available.
In the worst case, if a game you adore is removed from Game Pass, you can always buy it elsewhere. It doesn’t have to be the huge drawback that some folks insist it is. We increasingly live in a society of renting: we rent our homes, vehicles, and sometimes even our furnishings. We rent our films, television shows, and music via services like Netflix, Disney+, Amazon Prime, and Spotify. And now, Microsoft is pushing hard to convince people to rent their game libraries too.
Having built up a Steam library over the better part of a decade I’m not willing to part with it, and I still don’t see Game Pass as a full-time substitute for buying games in a general sense. But you know what? I could be in the minority on that very soon. As mentioned, Game Pass now offers a colossal library of titles, and not only Xbox-exclusive games like Halo: The Master Chief Collection and Sea of Thieves. The FIFA series of football (soccer) games are literally the most popular titles around the world, and now the most recent entries are on Game Pass, with this year’s entry almost certain to follow. And huge multiplayer titles like Apex Legends are as well. Heck, you can even play Anthem… though goodness only knows why you’d want to.
Very specific there, EA.
For a player on a limited budget, Game Pass is now my number one recommendation. Whether it’s on PC or console, I honestly can’t recommend anything else. There’s simply no alternative that offers such a variety of major titles for the cost, and even speaking as someone who doesn’t use it as often as I could, it’s 100% worth it. This new addition of EA titles has taken what was already an enticing offer and made it even better.
There are still some issues with the Xbox app on Windows 10, and it doesn’t always work perfectly. But the games it launches do, and whether you’re interested in a strategy title like Age of Empires II: Definitive Edition or a racer like Forza Horizon 4, there are so many games now that it’s worth a try for almost anyone interested in gaming.
The Xbox Series S with a Game Pass subscription is the most affordable route into this generation – or at least it will be when availability improves!
Microsoft took a risk with Game Pass, banking on players turning away from the model of buying and owning individual titles to rent them via a Netflix-style subscription. As the service continues to grow and expand, both in terms of its library and its playerbase, I think it’s fair to say that the risk is paying off.
So what am I going to play first? That’s a good question! I was tempted by the Mass Effect trilogy, which I otherwise only own on Xbox 360. But with Legendary Edition coming soon I think I’ll wait to see if it comes to Game Pass, which hopefully it will. Titanfall 2 is calling out to me, and despite being a big fan of fantasy I’ve never played the Dragon Age games, so maybe I’ll finally give those a shot. Or maybe I’ll go back and replay Sim City 2000 – there’s nothing like a hit of nostalgia, after all. I feel spoilt for choice!
I might sit down to play some Titanfall 2.
This move makes a lot of sense for both companies. EA’s Origin platform and EA Play have both struggled to bring in huge numbers of players since they launched, and with EA diversifying and bringing many of its titles to Steam, joining in with Game Pass feels like a no-brainer. And from Microsoft’s point of view, anything they can do to increase the appeal of Game Pass shores up the service, and that can only have the effect of bringing in new subscribers as well as convincing existing ones to stick around.
When taken alongside the recent Bethesda acquisition and the launch of the weaker but cheaper Xbox Series S, I have to say that Microsoft is off to a very strong start in this new console generation – far better than I had expected even six months ago.
Xbox Game Pass is available now for PC, Xbox One, and Xbox Series S/X. Prices were correct at time of writing (March 2021). This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
The most popular article I’ve written here on the website is about Star Trek: Deep Space Nine and Star Trek: Voyager, and how neither series has been remastered. In the late 2000s and early 2010s, The Original Series and The Next Generation were given a complete overhaul and rebroadcast, then re-released on Blu-ray (and HD DVD, if anyone remembers that failed format!)
For a number of reasons, though, The Next Generation in particular didn’t see great sales numbers on Blu-ray. Because of the significant cost involved in upscaling and remastering it, and the lack of a significant return on that investment, ViacomCBS hasn’t been willing to spend money on Deep Space Nine or Voyager. As a result, both series remain in “standard definition,” a.k.a. DVD quality. On today’s ever-larger television screens, the difference between a remastered episode of The Next Generation and a non-remastered episode of Deep Space Nine is incredibly noticeable.
Captain Picard in The Next Generation remaster (left) and Deep Space Nine DVD quality (right). Even allowing for image compression, the difference in quality is easy to spot.
Star Trek has been one of the big franchises that ViacomCBS has used to push its rebranded Paramount+ streaming service. Paramount+ is now the digital home of all things Star Trek – yet two of its flagship series that many folks remember with fondness from the 1990s don’t look great. As I noted last time, that’s a problem. It makes Paramount+ look cheap, as though ViacomCBS simply can’t be bothered to put in the effort.
Netflix runs some shows in DVD quality, but by far the majority of its content is in high definition. As Paramount+ attempts to position itself as a competitor to Netflix, Disney+, and other platforms in a very crowded market, having two big flagship shows in low quality standard definition is not a good look, and it’s something that needs to be addressed.
But last time the company made a significant investment in remastering Star Trek it didn’t pay off, so how should they proceed?
The Next Generation did not sell particularly well on Blu-ray.
There are a few factors at play here. The first is that ViacomCBS (and its predecessor, CBS) measured the success of the remastered Star Trek series purely by Blu-ray sales. The problem with this approach is that, even by the early 2010s, optical media in general was in decline. Fewer people had made the switch to Blu-ray than DVD, and with the rise of on-demand streaming platforms it seemed only a matter of time before Star Trek would be available to watch. I owned a number of The Next Generation stories on VHS, I’d also bought the entire series on DVD, and in the early 2010s I just wasn’t prepared to spend that money all over again on the same show – especially when it seemed inevitable that eventually the series would be available online. I was right.
Physical media sales are a poor measure of success in the days of on-demand streaming, and the value in investing in any project – be it a remaster or the commissioning of a new series – is less about pure sales numbers and more about the number of subscribers it will drive to your streaming platform. ViacomCBS has invested in Paramount+, so why not go the extra mile and remaster these classic shows for the service too?
One of the commercials for Paramount+ focused on Star Trek.
That’s the first aspect of this issue – the business side and how to calculate a return on investment. Raw sales numbers are less and less valid as a metric of success in a world that’s moved on to streaming, so making that calculation isn’t easy. But I bet that remastering Deep Space Nine and Voyager would drive new subscribers to Paramount+, as well as convince wavering subscribers that it’s worth sticking around. Both of those things are what any streaming service needs to survive.
The second point to consider is that the cost of remastering any television series is dropping all the time. There is software that uses AI that can produce creditable results from DVD-quality sources, such as the existing versions of Deep Space Nine and Voyager. Consumer-grade versions of this software exist, and can be bought for less than $100. You can even find homemade upscaled clips of Deep Space Nine and Voyager on YouTube and elsewhere online – and they look pretty darn good.
There are many fan-made upscales of clips from Deep Space Nine and Voyager online.
As software continues to improve and come down in price, the cost of a project like this drops dramatically, and we may only be a few years away from fans being able to fully upscale their DVD collections at home. In some ways, we’re arguably there already. Rather than ViacomCBS having to spend huge sums of money recruiting new artists and animators to recreate whole sequences from scratch, it’s going to be possible to run entire episodes of the show through software and just have a small team of people make tweaks on the resultant upscaled version to knock it into shape. It’s far less of a project than it was ten years ago – so there are fewer and fewer reasons not to do it.
With ViacomCBS having the original tapes of these shows, it should be even easier to get a good result than it is for someone using the DVD version. I’m not saying it can all be done from home for a few dollars – the project will still cost money – but it’s a far less significant expense than it was last time the company chose to send Star Trek to the remastering suite, and waiting even just a couple of years could see those costs fall yet further.
Sisko and O’Brien in Emissary, the Deep Space Nine premiere.
I really hope that ViacomCBS will consider giving both shows a proper remaster at some point in the future. It’s something that would undoubtedly provide Paramount+ a boost, especially if the service were the only place to access the newly-upgraded shows. And it surely would be, because why bother with a Blu-ray release? Physical media continues its decline, with fewer people than ever upgrading to the latest 4K Blu-ray standard, so there’s almost no point. Remaster the shows, stick them on Paramount+, and enjoy a nice subscriber boost.
I truly believe AI and software offer a path to remastering these shows – and a lot of others, too. There are a few other series from the ’80s and ’90s that are yet to be properly remastered, and the same solution potentially exists for those as well. I’m not a tech expert, but I think the results speak for themselves. When I’ve seen upscaled clips online, created incredibly inexpensively by amateurs using commercially-available software, it really feels like ViacomCBS is missing a trick. Maybe upscaling the series this way wouldn’t be as good as spending huge amounts of money to do it from scratch, but it would be something – and the result would almost certainly be a better-looking show than the currently-available SD version.
Paramount+ would get a boost if both shows were remastered.
As I mentioned at the beginning, the most popular article I’ve written is about Deep Space Nine and Voyager needing a remaster – so there is clearly huge interest there from both Trekkies and casual fans. People who watched the shows years ago may want to rewatch them. New Star Trek fans who’ve joined the fandom since the release of the Kelvin films or Discovery may want to go back and watch older Star Trek shows. And of course us Trekkies would love nothing more than to see the two series get an overhaul. There’s a sizeable audience out here asking for a remaster, an upscaling, or whatever you want to call it. AI could be a good solution – saving money while giving fans what we’ve been asking for for years!
At the very least, I think it’s worth considering. And if ViacomCBS never does it… maybe someone else will. These pieces of software get better and cheaper all the time, and we could be in a position in a very short span of time where fan-made remasters of whole episodes, not just clips, will be widely available.
Deep Space Nine and Voyager were a big part of Star Trek’s most successful era to date, and a lot of casual viewers and Trekkies remember them with fondness. While there’s nothing wrong with the DVD versions, as screen technology improves and televisions get larger, what viewers expect from their programming has changed. For a lot of people in 2021, standard definition isn’t good enough – especially on a streaming service that costs $9.99 per month. If ViacomCBS is serious about continuing to invest in the Star Trek franchise, a portion of that investment needs to be directed backward, to remastering these two shows that have been sidelined. Part of the marketing for Paramount+ highlighted that it was the place to watch every episode of Star Trek – some fans will have been disappointed to learn that over 300 of those episodes don’t look great.
AI and software offer a solution to this problem, one ViacomCBS should take advantage of as soon as possible.
Star Trek: Deep Space Nine and Star Trek: Voyager are available to stream now (in SD quality only) on Paramount+ in the United States, and on Netflix in the UK and other countries and territories. Both series are also available on DVD. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are minor spoilers ahead for Star Trek: Lower Decks Season 1, Star Trek: Discovery Season 3, and for other iterations of the Star Trek franchise.
In the early days of the website I put together a short list of ideas for future Star Trek projects. The list was, naturally, pure fantasy – I’m highly unlikely to ever be in the position of making a single episode of television, let alone working on Star Trek! But it was fun to write out some of these concepts and ideas that have been rolling around my head – in some cases for decades! So this time I’m going to update and expand upon that original list, and give you five of my Star Trek fantasies!
Wait, that sounds inappropriate.
There’s been a fair amount of talk over the last couple of years about potential Star Trek projects. Some have made it into production – like the “Captain Pike series,” a.k.a. Strange New Worlds! Others, like a sequel to Star Trek Beyond and a couple of other feature film projects appear to have been shelved. And some, like the Ceti Alpha V miniseries that I covered recently, are supposedly ready-to-go but languishing in development hell. This time it’s my turn to churn out some Star Trek ideas!
It’s my turn to put (metaphorical) pen to paper!
Though this is just a bit of fun – and a total fantasy, as there’s no way any of these projects will ever be made – I think there’s something valuable for any critic or commentator in thinking creatively. I spend a lot of time discussing Star Trek from the point of view of an independent critic, but many people have put in a ton of hard work to create the television shows, films, and games that I write about. Creative writing and criticism are very different tasks in many ways, and it’s no bad thing for a critic to try their hand, on occasion, at being creative.
Before we get started, two of my usual caveats apply. First, I have no “insider information.” I’m not claiming any of these projects are being secretly worked on over at ViacomCBS; this is pure fan-fiction. Second, these are projects that I feel would be fun in my subjective opinion. If you disagree and think they’d be awful, that’s fine. You’re entitled to your opinion!
With that out of the way, let’s get started!
Number 1: Colony World
The planet Terra Nova, as seen in Enterprise Season 1.
The original premise of Deep Space Nine was that it should be akin to a town in old Western stories – Commander Sisko as the “sheriff,” the Bajorans as “natives,” Quark’s Bar as the “saloon,” and so on. That concept can be seen at points early in the show’s run, but I’d argue that it had evaporated at least somewhat when the decision was made to make the Bajoran wormhole so important. The railroad came early to Star Trek’s frontier town!
Deep Space Nine largely moved away from being an isolated frontier station, and the huge amount of traffic that ran through the wormhole and the Bajoran system turned it into an important trading and diplomatic post. Thus we’ve never really seen what life is like out in the wilds, far away from the nearest Starbase. And that’s where my Colony World concept comes in.
Chief O’Brien greets Commander Sisko and Jake Sisko as they arrive on DS9 for the first time in Emissary.
This series wouldn’t be set on a starship or even a space station. It would be set on a remote colony, perhaps a brand-new one that’s just beginning to get established. There would be a small Starfleet outpost – perhaps a command officer and a couple of security personnel. The sheriff and his deputies, to use the analogy above! But the rest of the main cast would be Federation civilians, and there’d be scope in a series with a static setting to bring in a number of secondary recurring characters. Being set primarily in one location would potentially keep costs down, too, and without needing to spend a lot of money on expensive special effects the series might be inexpensive to make.
We could explore the motivations Federation citizens have to colonise the frontier. Why leave behind the paradise that is 24th Century Earth? Perhaps someone among the group has a past they’re looking to escape, and this could be a source of drama. And we could examine something Commander Sisko briefly confronted in the Deep Space Nine premiere – being assigned to an awful, unwanted posting. Because of the importance of DS9 and his role as the Emissary, Sisko only really had to deal with that for one episode, but we could see our Starfleet officers spending whole seasons coming to terms with being assigned to a post that they don’t want because of its remoteness.
A small Starfleet base seen in Insurrection.
Colony World presents an opportunity to look at the reasons for colonisation in a general sense. In the 21st Century, almost all of us live in established settlements; no one really goes anywhere new and just builds an entire town from scratch. So we could look at the environmental impact of doing so, both to be an historical parallel and to comment on future plans to colonise the moon and Mars. Taking an unspoilt wilderness and building on it, even with 24th Century technology, will contaminate the environment and change it; what does the Federation do to mitigate that?
Finally, the series could consider territorial disputes. Perhaps the planet targeted for colonisation is claimed by some other faction, or once had other occupants who left. There are so many contemporary parallels for land claims and arguments over territory that the series could touch on, and this could be a way for Star Trek to use its sci-fi lens to examine real-world issues.
Number 2: Borg Invasion
Multiple Borg Cubes seen in the Lower Decks title sequence.
On both occasions where the Borg attacked Earth they came in one single ship, and on both occasions they were defeated by Starfleet – albeit at great cost! But what would it be like if the Borg actually put real effort into assimilating the Federation? In The Next Generation Season 7 episode Parallels, we got a brief glimpse when a dimension-crossing Worf encounters a parallel universe Enterprise-D. The Federation put up a fight, but seem to have been overwhelmed.
The Borg have genuine horror series potential, and a Borg Invasion story could definitely cross over into the horror genre, playing on themes from zombie fiction like The Walking Dead. If you read my essay on the Borg a few months ago, you may remember that zombies are such a good analogy because in both cases, everyone the heroes lose can potentially be turned into another enemy to fight. That’s a terrifying concept, as is losing one’s sense of self-identity through assimilation; a fate worse than death.
Assimilation, as seen in the Voyager Season 5 episode Dark Frontier.
This wouldn’t make for a good film, it would really need to be a series. And not only that, but a limited series with a planned story from the beginning. If it were to run for, say, three seasons, Season 1 would start as normal with the Federation doing its thing, with a huge Borg attack in episodes 1-2. The remainder of Season 1 would see Federation losses mount, akin to Seasons 5-6 of Deep Space Nine when they had the Dominion War. Season 2 would look at attempts to recruit allies, perhaps restoring broken alliances with the Klingons or Romulans. Season 3 would see the development of some kind of Borg-killing weapon that would finally turn the tide, and the series finale would end in victory, driving the Borg from Earth.
The question of timeframe arises, especially with Discovery establishing the 32nd Century Federation and the Temporal War. Perhaps I’d put it in the 26th or 27th Centuries; far removed from established Star Trek in both directions.
The Enterprise-D in pursuit of a Borg Cube in The Best of Both Worlds.
Finally, and perhaps most controversially, this would be the Borg’s swansong; their final Star Trek appearance – at least for many, many years. A villain that is beaten too often becomes boring, and the Borg were certainly in danger of becoming stale toward the end of Voyager’s run. If the Star Trek franchise were to dedicate an entire series to the Borg Invasion, I would have it end with the Borg’s total and utter defeat, ending the faction permanently. It would be possible, of course, for future Star Trek projects to go back and do Borg-focused prequels, but for me this would be the end of the Borg – going out with a bang! Some factions, by their nature, are suited to one-off stories, and although the Borg are absolutely iconic within Star Trek, I don’t believe the franchise can keep doing Borg stories indefinitely. So this would be their end!
Aside from the obvious horror vibe, with elements from classic sci-fi horror films like Alien or The Terminator, there would be scope for such a series to tell dark and gritty war stories like we saw in episodes of Deep Space Nine such as The Siege of AR-558. Borg Invasion would be one of the darkest Star Trek shows ever put to screen. Whether that’s something you’re into will be a matter of personal taste, of course, but I think it could work exceptionally well.
Number 3: Hospital Ship
The medical ship USS Pasteur.
This is the concept that I’ve been kicking around for the longest time! I first started thinking about this idea in the mid-90s when The Next Generation and Deep Space Nine were still on the air. In short, this series would be “ER in space.” A hospital ship – something like the USS Pasteur from The Next Generation’s finale – would travel to places suffering from diseases and disasters to lend its expertise.
In my original (’90s) version of this idea, I thought it could be fun to bring back characters like Dr Pulaski and Dr Bashir; a crossover of some of my favourite medical officers from the 24th Century! That’s obviously not going to happen now, but the underlying concept remains valid. Not every episode would focus on some horrible plague or catastrophe, and there would be quieter stories in between to allow for character arcs and development.
My original version of this idea brought back Dr Pulaski.
Some of the ship’s activities would be routine, such as transporting medical equipment to a new colony, but other times they would be called upon to fight hard to cure a truly awful disease that had broken out on a starship or base, and seeing the medical crew race against time to save lives would be incredibly tense and dramatic – just like it is in other medical drama series.
The ship could also be sent to the aftermath of battles, triaging wounded officers and using its facilities to save as many lives as possible. If you can think of a concept done in a show like ER or even House, this series could put a sci-fi spin on it.
This series would be “ER in space.”
While most of the main cast would be medical staff – and I would probably put the chief medical officer as the main protagonist – there would also have to be other crewmen and officers on board; a captain, bridge crew, engineers, and so on, and some of these could be side characters or recurring characters. Perhaps in a true disaster situation some of them would be tasked with helping out in the hospital!
I loved ER when it was running in the ’90s and 2000s, and there are a number of other fun medical shows too. Star Trek could do justice to this concept, and without being constrained by real-world diseases and conditions that affect humans, there’s almost unlimited scope for creativity in the health issues suffered by both human and alien patients. As the world of entertainment begins to wrangle with the coronavirus pandemic, this series could be a way for Star Trek to use its sci-fi setting to take a look at one of the biggest events of recent years.
Number 4: The Federation Government
Jaresh-Inyo, Federation President in the mid-24th Century.
If the series above is “ER in space,” then this concept is akin to “The West Wing in space!” Except it’s not in space. It would be in Paris, or perhaps at some other location where the Federation Council is situated. Aside from the Deep Space Nine two-part story Homefront and Paradise Lost, we’ve never really spent any time with the leaders of the Federation. It’s implied that there’s a USA-like power structure, with a President as the executive branch, the Federation Council as some kind of deliberative or legislative body, and a federalist structure with semi-independent worlds under the Federation umbrella. But the specifics of how any of it works has been kept vague for all of Star Trek’s history.
This series would change that, and would explore how the Federation is governed. Exploration appears to be a priority for the Federation, at least in the 23rd and 24th Centuries, but beyond that we don’t know what objectives the Federation government may have. The Federation is usually presented as a post-scarcity society, one in which everyone’s survival needs are met and in which accumulation of wealth and possessions is not a concern. But someone still has to be in charge, ensuring that every Federation member world and every citizen can access things like replicators.
The Federation President in the late 23rd Century.
The Federation President is an elected role, and it’s assumed that members of its legislative body would be elected as well, but whether there are political parties, factions, etc. is not known, and the series could explore that. There are surely lots of people who would have the ambition of becoming President, and many more who would seek to use the position to change the Federation in some way.
Shows like The West Wing and even comedies like Yes, Minister looked not only at the politicians, but also at the civil servants who managed day-to-day government operations, and this series would look at those people as well. Who really holds power inside the Federation government, and are they all as altruistic as they seem?
This series would be Star Trek’s answer to shows like The West Wing.
In addition, we could look at diplomats and thus the Federation’s relationships with other factions. Deep Space Nine saw the building of relations with the Klingons, Romulans, and others, and if the series were set after the Dominion War it would also be interesting to see how relations progressed with both the Cardassians and the Dominion. The admission of a new Federation member – such as Bajor – could be a major storyline in the show as the characters make the necessary preparations.
Finally, the series might look at the relationship between Starfleet and the Federation government. We tend to see the command structure within Starfleet as absolute, because from the point of view of most Star Trek characters, the head of Starfleet has the final say! But in any democratic society, the military – which Starfleet partly is, at least – should not have total leeway to do whatever it chooses. The head of Starfleet must surely take their orders from the Federation government, and setting policies which impact Starfleet could be an ongoing theme in the show.
Number 5: Galactic Wildlife
Book and a trance worm in Star Trek: Discovery Season 3.
Styled as a pseudo-documentary, this series would hop from planet to planet looking at some of the wild animals that live in the Milky Way. Just like real documentaries that follow the lives of animals, we’d spend time following the lives and routines of some of the terrestrial, marine, and even spacefaring creatures that have been shown in Star Trek.
Every Star Trek series to date has looked at animals and non-sentient critters at some point, but rarely has an episode done so in any real depth. Thus, many of Star Trek’s animals are open to a closer look, and there’s plenty of room for creativity even within the confines of previously-established species.
Captain Kirk with tribbles. This must be one of the most iconic images in all of Star Trek!
While I’d want to keep the focus of this series on the animals themselves, there’s the potential to expand it a little, to spend some time with the narrator or even the science team who are following the animals. Again, though, I’d want to keep the documentary-style format going, so perhaps this would be done in the form of recorded logs.
Special effects and CGI continue to improve, so gone are the days when an “alien animal” would be a dog with a horn tied to its head! But the focus on the animals would mean the series would need a pretty high CGI budget, as it would need to look as convincing as possible. The 2019 remake of The Lion King pulled off photorealistic animation, though, so in theory I think it could be made to work – especially as technology continues to improve.
A very convincing alien, seen in The Original Series Season 1 episode The Enemy Within.
Among the creatures we could spend time with are famous ones like the tribbles or the Ceti Alpha V eel, as well as new creatures from recent shows like the gormagander (a.k.a. the “space whale”) or Book’s trance worms. Then there are critters like the Klingon targ, the Vulcan sehlat, the Cardassian vole, or even the gagh worms that Klingons eat.
Star Trek has shown or referenced a huge number of animals over the course of its 800+ stories, and it could be great fun to dive back into the franchise’s history, pull out a lesser-known species like the Regalian fleaspider, and take an in-depth look at the fictional critter. Maybe this, out of all the show ideas I’ve pitched today, is the most nerdy, niche concept of them all! But people like animal documentaries, and a series like this, which looks entirely at fictional creatures, has never been attempted as far as I’m aware. It would be wholly unique, not only within Star Trek but in the entire entertainment realm!
So that’s it. Five pitches for Star Trek shows… that will never be made!
This was a lot of fun to put together, and I have other Star Trek ideas that I’ve been kicking around that I might talk about on a future occasion. As I said at the beginning, this is pure fan-fantasy, and none of these projects will ever be produced – despite the fact that I think they’d be neat. There are many interesting ideas that fans have come up with over the years, some of which ultimately take the form of fan-fiction or even fan-made films. Trekkies are an incredibly creative bunch!
I hope you enjoyed this look at a few of my Star Trek ideas. Perhaps you like some of them as much as I do… or perhaps this list will exist as a reminder of why Alex Kurtzman, not Trekking with Dennis, is in charge of the franchise over at ViacomCBS!
The Star Trek franchise, including all series and films mentioned above, is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Back in August, when Fall Guys was the party hit of the summer, I put all of the rounds (i.e. levels) into a ranked list. Since then, a number of new rounds have been added to the game as part of the Season 2 and Season 3 updates. In addition, most rounds now have at least one variant, with alterations to obstacles to keep players on their toes.
I’m hopeful that Fall Guys will have a strong future. With releases planned for Xbox and Switch this summer, and a fourth season coming between now and then, developers Mediatonic are still working hard. But as we noted last time, player numbers have dropped significantly – by as much as 95% on PC – in a little over half a year, so new owners Epic Games have their work cut out to revitalise Fall Guys in 2021.
Fall Guys is coming to Nintendo Switch this summer.
There are presently 38 rounds in the game, and we’ll look at each of them in turn from worst to best. Some rounds have been greatly improved since I last ranked them, whereas others are now overshadowed by newer rounds that are better! So there will certainly be some changes when compared to my previous list.
Before we go any further, a note about team rounds. In order to avoid being too repetitive, let’s get this out of the way first: success or failure in team rounds is inherently dependent on who you’re teamed up with. Lopsided or unbalanced teams (i.e. 5 against 7) have largely been eliminated from the game via updates – which is great news – but if you’re teamed up with people who aren’t great at the round, who aren’t paying attention, who drop out, etc. it’s going to be much harder to qualify. That’s just the nature of team rounds in a game like Fall Guys, and while it can be incredibly frustrating, it’s also something that can’t be avoided. The reverse can also be true – you can play atrociously only to end up qualifying thanks to being on a strong team. So rather than repeat myself with every single team round, I thought I’d just make this clear at the beginning!
Without any further caveats, let’s jump and dive headfirst into the list.
Number 38: Snowy Scrap (Team)
I appreciate what Snowy Scrap was trying to do, and how the developers clearly hoped to create a round that bypassed some of the issues with Rock N Roll – another round which tasks teams of players to push a large ball. The problem with Snowy Scrap is that the physics engine in use in Fall Guys, as well as the deliberately clumsy characters, are not well-suited to a game which requires precision. In Rock N Roll, the large goal at the end doesn’t require this, but in Snowy Scrap the snowballs need to be aimed at small patches of snow on the ground. The clunky balls are difficult to control so delicately, and it’s just a very difficult round as a result.
Number 37: Door Dash (Race)
Last time I ranked Door Dash as the worst round in the game… and nothing has been done to address any of its issues in the patches and updates since. Its combination of being fast-paced yet random means that a single unavoidable mistake – because which doors are real and which are fake is completely random and unknowable – can often mean failure to qualify. It’s a round where, if luck is on your side, you’ll breeze through. If not, however, you’re in trouble. A lot of the rounds in Fall Guys require at least a modicum of skill; Door Dash doesn’t. If you can run and jump, you can play this round just as well as the best players in the world.
Number 36: Fruit Chute (Race)
There’s nothing wrong with the premise of Fruit Chute, which sees players run on a treadmill while obstacles are being fired at them. But it’s an incredibly unforgiving round, and in most cases a single collision can be enough to knock you right out of contention. It’s also a round where not much has been changed, and the variant which added mallets (to sling players forward up the track) doesn’t really seem to help, as landing awkwardly can still mean qualification is out of reach. A fun round, for sure, but horribly unforgiving.
Number 35: Royal Fumble (Finale)
Royal Fumble has slipped way down my list compared to last time for one simple reason: it hardly ever shows up any more. It’s hard to say anything about a round that seems to have dropped off the face of the earth, and I almost took it entirely out of contention. The premise is fine – whoever is in possession of the one single tail when the timer runs out wins the crown – but if, for whatever reason, it’s no longer being used very often, then it can’t be ranked any higher on the list.
Number 34: Tip Toe (Race)
Another round that hasn’t seen any improvement since last time, Tip Toe is another that can be very unforgiving and random. It’s impossible to tell which tiles are fake and which are real without jumping on them, and if you’re unlucky enough to fall near the end, by the time you’ve respawned the round can be over. Because Tip Toe shows up later (usually it’s at least the third round) players are cautious, wanting to qualify for the finale, so it can drag out if no one is willing to try stepping on the next tile. The addition of a mallet in one variant does basically nothing, because even if you jumped perfectly and got hit by it, chances are you’d still land on a tile that will fall away.
Number 33: See Saw (Race)
See Saw sees perhaps the biggest fall from grace since I wrote my first list. Back then I said that it was “a ton of fun, and deceptively tricky.” And that’s true – See Saw can be fun, but one thing I’ve come to realise is just how unfair it is. Players who spawn in at the front of the pack have a far bigger advantage than I realised, and it’s often the case in See Saw that two or three players manage to qualify way before everyone else simply because they had a straight shot to the finish line. However, See Saw is usually a forgiving round, meaning a fall or two doesn’t usually knock you right out of contention. I still like it and have fun with it, but the unfairness is definitely noteworthy!
Number 32: Jump Showdown (Finale)
Jump Showdown is – I think – the finale where I’ve won the most crowns! But it’s quite random when compared to all of the other finales, and it’s possible to lose simply because of where you spawned in at the beginning. When a couple of platforms have fallen away, you can end up in the wrong place simply by chance, and thus I stand by what I said last time: that’s poor for a finale.
Number 31: Rock N Roll (Team)
Rock N Roll usually sees all three teams make identical progress pushing their giant ball through a short obstacle course, and that’s the part of the round that could really use some attention and improvement. Once the balls drop it’s a short run to the goal at the bottom, and this round invariably descends into which team can hold up the others better. I also feel that there’s a disadvantage to being in the middle lane, simply because you have players from both sides who could jump in the way and hold you up. It’s preferable to Snowy Scrap, though!
Number 30: Jinxed (Team)
I hadn’t played many rounds of Jinxed when I ranked it last time, but it seems to come up more often now. It’s okay, and the level is well-designed. It’s a very fast-paced round, better suited to larger teams, but because of the way it starts – with one “jinxed” player per team – it can get lopsided fast if one of the jinxed players isn’t paying attention (or just isn’t very good!) It’s okay, though, and we’re getting into the part of the list where none of the rounds are all that bad, just overshadowed by some that are better!
Number 29: Perfect Match (Logic)
I ranked Perfect Match much higher up the list last time. I enjoy it a lot, and in a game that can be very hectic it’s a refreshingly different offering. However, it’s also a round that invariably ends up eliminating practically nobody. I don’t want to attach the label “too easy,” but it’s hard to know what else to say about a round where 30 out of 31 players qualify. A variant has been added that randomly shoots obstacles at the course, and that helps a little, but right now Perfect Match is an outlier. If it remains the case that it doesn’t eliminate many players, including it is going to end up feeling like a waste of time when it appears. That’s a shame, because in theory I like Perfect Match – it just doesn’t work so well at the moment.
Number 28:Pegwin Pursuit (Team)
The robo-penguins that you have to catch in this game are cute, and the concept is fun. You’ve probably figured out by now that I’m not wild about a lot of the team rounds, and in a way I’d like to see a solo variant of this round as I think that could be fun. If there were, for example, five fewer penguins than players (10 penguins in a 15-player round, and so on) maybe that would work. It’s fine, though, and worked well during the winter-themed Season 3.
Number 27: Team Tail Tag (Team)
Team Tail Tag has one of the best-designed levels, and it’s one that could work well for a whole range of different games. It has ramps, conveyors, slippery slime ramps, mallets… lots of different “terrains” and obstacles. It’s also the only round where I’ve seen four teams instead of two or three! The tail tag concept is fun, and pretty easy to get to grips with. A fun middle-of-the-road round that I don’t really have anything else to say about.
Number 26: Tail Tag (Hunt)
As I said in my previous list, the non-team version of Tail Tag works ever-so-slightly better, in my opinion, because victory or defeat is in your own hands. The map is perhaps slightly less fun, though it has spawned at least one variant with large fans that does mix things up a little. Tail Tag is the one round where what you do at the beginning does not matter in the slightest; it’s won or lost in the last few seconds. That keeps it exciting all the way along, and I appreciate that about it. It’s also on a fixed timer so there’s no waiting around!
Number 25: Hex-A-Gone (Finale)
Hex-A-Gone is fine. It’s a solid finale that does what it says it’s going to do! I’ve seen some players who seem to have very elaborate Hex-A-Gone tactics, including dropping way down to the final layer to make holes in the hopes that other players will fall straight through! I like that it’s a round that inspires some degree of tactical thinking; you can’t just run around and hope for the best.
Number 24: Fall Ball (Team)
I mentioned above that the physics of Fall Guys makes controlling large balls difficult, and while that was frustrating in Snowy Scrap it’s a big part of the fun of Fall Ball. Even after playing many times, I’m still crap at it. But it’s fun, and it’s a change of pace when compared to a lot of the other team rounds. It actually requires a degree of teamwork to qualify – just running around only considering yourself can leave your goal exposed or leave teammates without support, so it’s another round that can be played tactically.
Number 23: Hoarders (Team)
Hoarders is a pretty hectic round, and another that requires players to control large balls. Luckily in this case the objective is just to keep as many as possible in an entire third of the map, which is much easier than scoring a goal or rolling in a specific area! As with Tail Tag, who’s winning at the start doesn’t matter; there are only a few balls so it’s possible to pull off a recovery even at the last second. In that sense it’s a round that never lets up.
Number 21 (tie): Egg Scramble & Egg Siege (Team)
I’m putting these two together because for all intents and purposes they’re the same round. The level design is slightly different – with Egg Siege adding a medieval theme and drawbridges, as well as deeper “nests,” but the changes aren’t substantial enough to make the rounds play any differently from one another. I like both, and the addition of golden eggs alongside regular eggs adds an extra dimension to the rounds. They’re fun and often fast-paced – the only time either are less fun would be when there are only a few players per team. One round I played only had four players on each team, and I think that’s too few!
Number 20: Hoopsie Daisy (Team)
I think we’ve come to my favourite team round! I just love the jumping and diving, and the hoops are just large enough to make a good target without being too big or making it too easy. The addition of golden hoops, and mixing up some of the obstacles on the map, gives Hoopsie Daisy an additional dimension, and I always smile when it crops up. Unless your team falls way behind and stays there, it’s usually competitive right up to the last second, too.
Number 19: Jump Club (Survival)
I prefer Jump Club to its finale cousin for the simple reason that it’s less random. It’s still possible to screw up and fail to qualify, but usually that’s because of a self-inflicted mistake, and not because of the way the round was designed. Otherwise it’s a pretty simple concept – jump over the spinning beam without getting caught by the larger one above it. Hang on long enough while other players get knocked into the slime and you qualify! It’s a round that usually doesn’t drag on too long, either because a lot of players get caught out, or because the beams speed up!
Number 18: Roll Out (Survival)
If there were only the original version of Roll Out it would surely rank lower down the list. That’s because, as I noted last time, that version of Roll Out can take a long time to play out because most people have got the hang of it! But there are two new variants that completely mix it up. In one, two of the five rotating cylinders are gone, meaning there are more players packed into a smaller space. In the other, fruit obstacles are fired at random, knocking players down. These new variants massively improve the round.
Number 17: Wall Guys (Race)
Among the racing rounds, there really isn’t anything quite like Wall Guys. In a way it’s partly a game of logic, trying to piece together the best route across the platforms to scale the walls. But it’s also a round that requires good jumping, diving, and aiming reflexes. A second variant adds in giant fans, which certainly mixes things up. It’s not an easy round by any means, and sometimes positioning a platform in just the right place can mean someone else jumps on it first – but that’s part of the game!
Number 16: Freezy Peak (Race)
Freezy Peak is a fun obstacle course with several sections offering a variety of challenges. The hardest part (at least for me) is getting the timing right to jump across the fans, using the updraft to cross a gap. It’s not easy, but it’s a cleverly-designed round and I appreciate that it offers a lot of variety. It could easily be repurposed to become a finale, with the first person reaching the summit winning a crown!
Number 15: Hoopsie Legends (Hunt)
Hoopsie Legends is the solo variant of Hoopsie Daisy, and it’s great fun. The challenge doesn’t only lie in jumping through the hoops, but also in getting to them ahead of other players, and in moving platforms to just the right place. The map itself is perhaps a little bland, with only the central drawbridge area offering any variety. My only real point of criticism, though, is that in a round where the objective is to score six points, having a few golden hoops that are worth five points each can make it quick and easy for some players to reach the target. It might be better if these were only worth two points.
Number 14: Thin Ice (Finale)
Thin Ice is a slightly better variant of Hex-A-Gone, and that’s really all there is to say. After standing on the hexagon-shaped ice tiles for a couple of seconds, they crack and disappear, dropping players down to the next layer of ice. It’s possible to do well at Thin Ice by taking it slow and focusing on one section of the level. When it gets down to the final layer and a lot of holes, well that’s when it gets hectic! It’s also the finale where I’ve seen the most players – 18 on one occasion, and 15-16 several times.
Number 13: Snowball Survival (Survival)
This is a fun round, and a well-designed level. Two giant snowballs roll across the bowl-shaped map at random, sometimes bouncing off one another. There are patches of ice that crack and fall away, and patches of solid ground. Getting hit by a snowball sends players flying in all directions, and the challenge is in jumping out of the way in time! It’s also a round that can, on occasion, eliminate a large number of players.
Number 12: Fall Mountain (Finale)
Fall Mountain makes for a great finale because it’s fast-paced. It’s a race to the top – while giant balls are being shot down the mountain at you – and whoever makes it and grabs the crown wins. Victory or defeat is entirely in your own hands – quick reflexes are needed to avoid the balls and swinging mallets, and to jump at the right moment to grab the crown. Though it’s kind of basic as far as obstacle courses go, it’s great fun.
Number 11: Slime Climb (Race)
I’m still awful at Slime Climb! More often than not I wind up eliminated through a mistimed jump or by getting knocked over by one of the many different types of obstacle! But as a pure obstacle course it has everything: rolling balls, swinging mallets, slippery slopes, pushing platforms… the lot. And a few different variants have been added, changing up some of the obstacles to keep players on their toes. In terms of the way the level is designed it has to be one of the best in the game – even though I absolutely suck at it.
Number 10: The Whirlygig (Race)
I like what The Whirlygig has to offer, and the fact that a couple of different variants have sprung up keeps it fresh and interesting. I’ve pretty much nailed my tactics for this round, and even on my worst days I can still expect to make it to the finish line! The rotating fans offer a different kind of obstacle, and getting the timing right to avoid getting hit is the key.
Number 9: Gate Crash (Race)
I’m not doing individual awards, but if I were, Gate Crash would win “most improved!” Last time I said that it was too unforgiving, but maybe I’ve just got better at it since then. Regardless, the addition of moving obstacles seems to have helped, and Gate Crash has one of the best final stretches of any round – with a slippery slope leading to a jump. Getting that right requires a bit of skill and the right timing, something that can be tricky!
Number 8: Dizzy Heights
Dizzy Heights now has several different variants to spice things up, including one where its signature spinning platforms have been removed in the middle section! These variants keep it fresh and interesting, as you’re never sure which version will be selected. It’s a fun round, and one which can be difficult, especially toward the end. Those three rotating discs spinning in opposite directions – with balls being shot at you – are difficult to navigate!
Number 7: Big Fans (Race)
I utterly detested Big Fans the first few times I played it! That was because I couldn’t get the timing right to successfully jump between the spinning platforms! But the more I’ve continued to play it I’ve come to appreciate what it has to offer, and while there really isn’t much variety – except on the variant that introduces spinning beams – it’s nevertheless a fantastic, cleverly-designed round that’s incredibly tricky to get to grips with.
Number 6: Roll Off (Finale)
Roll Off is what Roll Out should have been! Where the original version of Roll Out can take a long time to eliminate players, Roll Off speeds up, and the rising slime leaves less and less solid ground available. It’s a truly fun take on Roll Out, massively improving on that round’s gameplay. I just wish, in a way, that it wasn’t a finale so that it would crop up more often!
Number 5: Ski Fall (Race)
The concept of Ski Fall is just fantastic. Jumping and diving through small target rings while slipping down an icy slope makes for a deceptively challenging round, and it’s easy to mistime a jump or bounce off an obstacle and completely mess up! However, it’s also forgiving enough that a mistake or two won’t knock you out of contention altogether most of the time, which is great. Tricky but great fun is how I’d describe Ski Fall.
Number 4: Hit Parade (Race)
Last time, Hit Parade was my winner. It’s slipped down a few places this time, and if I’m being really honest the reason why is that I’ve played it so many times. There are some great variations that have been introduced that have kept Hit Parade fresh, and I still feel that, when considering pure obstacle courses, it beats out many other rounds – especially those which only consist of one type of obstacle! And it’s still great fun, don’t get me wrong… but a couple of newcomers have arrived to topple its crown.
Number 3: Block Party (Survival)
I still absolutely adore Block Party. This timed round sees players standing on a short platform having to run out of the way of walls that come racing toward them. There are some beams to jump over, too. It’s a tricky round that keeps you engaged until the very last second, and it gets progressively difficult as the timer ticks toward zero. My only criticism would be to say that, of all the rounds in the game, Block Party is perhaps the easiest in theory to mix up with new variants, as changing which beams and blocks come and at what time shouldn’t be too difficult. Yet there aren’t many variants that I’ve seen – perhaps two or three.
Number 2: Knight Fever (Race)
So now we come to the top two, and just missing out on the top spot is Knight Fever. This amazing obstacle course has so much going on that I hardly know where to start. There are platforms with holes in, cylindrical platforms with fast-moving spikes that knock you off, crushing cylinders and blocks, and drawbridges. There are several variants, too, which introduce see-saws, fans, and change the timings of the drawbridges. There’s just so much going on that Knight Fever is a wild ride from start to finish, and always keeps me on my toes!
Number 1: Tundra Run (Race)
My number one pick this time is Tundra Run. It was a close call between this and Knight Fever, because both are excellent, varied obstacle courses. But as I thought about it some more, Tundra Run has to take the top spot. As above, it offers a range of different obstacles and terrains, with the icy sections being slippery and difficult to navigate. But it’s so much fun, and incredibly hectic. There’s so much variety that each section feels almost like a new level, and it’s not easy to make it to the finish line!
So that’s it! We’ve put all of the rounds into a list again… one that will be out-of-date as soon as Season 4 rolls around!
I took a break from Fall Guys over the holidays, but after picking it up again last month I’ve been having a whale of a time. I often say that, when it comes to video games, I prefer something with a good story that I can play alone. Fall Guys has reminded me that enjoyable gameplay matters too, and that there’s still value in something unique, silly, and fun. There aren’t that many games like Fall Guys where I sit down to play simply for the enjoyment of playing – not because I’m chasing achievements or following a story.
I’m keeping my fingers crossed for Season 4 being fun with its futuristic theme, as well as for successful launches on Xbox and in particular on the Switch later in the year. Fall Guys deserves to have a great future with many more updates and more content to come – and I’m still hopeful that it can, despite the significant drop in player numbers since launch.
If you haven’t tried Fall Guys yet… well I guess this list won’t have made a lot of sense! But the game is available on Steam and on PlayStation 4, and as mentioned, Xbox and Switch releases are coming. It was suggested – or at least hinted at – that it may go free-to-play in future, so watch this space. But if you ask me, it’s a steal at £15.
I won’t immediately re-rank the rounds when Season 4 arrives, but stay tuned for more Fall Guys-related articles and posts, especially if we get any significant news regarding the game’s future. Perhaps I’ll see you out there, pushing you out of the way to grab a crown!
Fall Guys is out now on PC and PlayStation 4. Fall Guys is the copyright of Mediatonic, Devolver Digital, and Epic Games. This list contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds. The video referenced in this article can be found below.
No sooner had I published my article making a few preliminary predictions (alright, guesses) for Strange New Worlds – my first piece on the upcoming series since July last year – than ViacomCBS dropped the biggest news so far about the latest Star Trek show! What an odd coincidence, eh?
The short video confirmed the rumour that the series has officially started production in Toronto, which is fantastic news. There had been speculation that filming had started, but there were also competing rumours that production hadn’t yet begun, so getting confirmation on that is great. It also firmly debunks the lie spread through some anti-Star Trek groups that the series (and other upcoming Star Trek productions) were cancelled or not going ahead!
In addition to the news that the series was officially in production, we also got to meet five new members of the Strange New Worlds cast. We’ll very briefly look at each in a moment, but first let’s assess the group as a whole.
Firstly, those of you who are good at maths will have worked out that the addition of five new cast members brings the total for Strange New Worlds’ main cast to eight. Discovery had seven during Season 3, and Picard also had seven during its first season, so eight characters is not completely out of the ballpark for a modern Star Trek production! In a series that will almost certainly run somewhere from 10-15 episodes, eight major characters is probably about the maximum number that Strange New Worlds could get away with, though.
Picard Season 1 dedicated several of its episodes and large portions of its runtime to its new characters, and while that was great and generally done very well, it meant that when we got to the season finale and rushed through a huge amount of story (leaving a number of things unresolved) some of that felt wasted. In short, what I’m trying to say is that today’s Star Trek shows have fewer episodes per season than they used to in decades past, and a shorter runtime naturally means you can fit in fewer stories – and arguably fewer major characters. Eight feels like a comfortable fit – but I would be wary of trying to cram in too many more!
Notable by her absence was Amrit Kaur, who played Cadet Sidhu in the 2019 Short Treks episode Ask Not. At the end of that short story, Cadet Sidhu was assigned to a role in engineering aboard the Enterprise, and while it was presented as a standalone story, by introducing a character in that manner, with Strange New Worlds clearly in mind at the time the episode was made, it felt like a deliberate move. Ever since the series was announced last year I felt relatively certain that Sidhu would be back, and while it’s possible she will be included in a future announcement, or reappear as a guest star, I admit I was a little surprised not to see her included here.
The cast members who we briefly met continue Star Trek’s longstanding tradition of diversity in its main characters. Babs Olusanmokun was born in Nigeria. Christina Chong is of mixed Chinese-English ancestry. Celia Rose Gooding is African-American. Melissa Navia is Colombian-American. And Jess Bush is Australian. Quite the mix!
The cast will have more women than men for the first time in the franchise’s history, which is certainly very interesting. On-screen representation continues to improve, and Star Trek has had a long and proud tradition of these big, diverse casts. Strange New Worlds continues that tradition, and the cast looks to be shaping up very well.
I’m afraid that I’m completely unfamiliar with all five of the new faces, though several of them have had roles in films and shows that I’ve heard of or seen parts of, so that’s good. The new cast members will have the opportunity to grow into their roles without bringing too much baggage with them, which is one benefit to bringing on board new faces.
We don’t yet know what roles any of the five will play. Surely we can expect to find at least one non-human in there, but which of them will take on that role and in what capacity is something we still don’t know. Every Star Trek series to date has introduced us to new alien races, as well as brought at least one new alien race into its main cast, and I see no reason why Strange New Worlds won’t do the same.
The final point of note is that, of the characters from The Cage, who were officers aboard the Enterprise under Pike’s command, none of them seem to fit with the new cast. Perhaps Yeoman Colt could be the character one of the new female leads is taking over, but none of the new cast fit with characters like José Tyler, Dr Boyce, or other officers present in that episode. I’ve said several times that I was sure Strange New Worlds was not simply going to recast everyone present in The Cage, and that the creative team would surely want to add in their own new characters, but it’s still worth noting that it doesn’t seem at this stage that any of those original characters are returning in a major way.
So that’s about all I have to say, really. By sheer coincidence this announcement came a few hours after I published my preliminary Season 1 predictions, which is kind of amusing! Hopefully we’ll learn soon what roles these folks are going to play. It looks like a fun group, and unless there’s some shocking announcement to come – like a returning cast member from a previous Star Trek series, or the inclusion of a Hollywood superstar – it feels like this announcement has rounded out the main cast. Eight major characters is more than enough for a series like this, though hopefully we’ll see a few secondary characters given screen time and development as well.
Strange New Worlds is off to a decent start, and I’m looking forward to the moment when I’ll be able to sit down and watch it! Stay tuned, because if we get any more information about the show, the characters, or anything else of note, I’ll be sure to take a look.
Hit it!
Star Trek: Strange New Worlds will be broadcast on Paramount+ in areas where the service is available. Further international distribution has not yet been announced. The Star Trek franchise – including Strange New Worlds – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
A few months ago I briefly touched on the Microsoft buyout of ZeniMax – parent company to Skyrim developer Bethesda. The deal, which was announced back in September last year, has finally gone through after months of behind-the-scenes legal wrangling, meaning that Microsoft now officially owns Bethesda Softworks, its subsidiaries, and all of the games they’ve developed and produced. This is a significant acquisition for Microsoft, and looks sure to shake up the games market – at least the single-player games market! It will also certainly provide a big boost for Xbox Game Pass, which has already been touting the arrival of Bethesda’s back catalogue to the service.
Almost all Bethesda titles for at least a decade have been multiplatform, with releases on Sony’s PlayStation consoles and some select releases on Nintendo hardware too, and those games aren’t going to be taken away. Microsoft has also pledged to honour existing contracts for upcoming titles, meaning that both Deathloop and Ghostwire: Tokyo will still have timed exclusivity on PlayStation 5. After that, however, we can expect to see future titles arrive exclusively on Xbox Series S/X and PC.
Ghostwire: Tokyo will still be a timed PlayStation 5 exclusive.
Some games industry commentators seem taken aback at this notion, asking with mouths agape if Microsoft will seriously make upcoming Bethesda projects like Starfield and The Elder Scrolls VI Xbox/PC exclusive. To those folks I ask a simple question: really? This seems like a surprise to you?
Microsoft paid $7.5 billion for Bethesda, and for that huge investment they’re going to want a lot more than a few new titles in the Game Pass library. Exclusive games sell systems, and in 2021 exclusive games drive subscriptions too. Microsoft fell way behind in the last generation as the Xbox One was massively outsold by the PlayStation 4, and a lack of decent exclusive games was a huge factor in explaining why that was the case. Microsoft has tried to rectify the situation by acquiring Obsidian Entertainment, Compulsion Games, Playground Games, Ninja Theory, and other studios, and guess what? Those studios now make games for PC and Xbox only. Some of these investments will take time to pay off, but as the new console generation rolls into its second and third years, I think we’ll see a big push from Microsoft with some of these new exclusive games.
Expect to see future Bethesda titles be Xbox/PC exclusive.
Titles from Microsoft-owned franchises like Halo, Gears of War, State of Decay, and standalone games like Sea of Thieves aren’t going to be released on PlayStation (or Nintendo) so I’m afraid that people are getting their hopes up if they expect to see future Bethesda titles on any other platform. Microsoft wouldn’t have spent such a huge sum of money not to capitalise on their acquisition, and while in the immediate term nothing is going to change, give it a couple of years when Starfield is ready, The Elder Scrolls VI is preparing for launch, and Bethesda are working on new entries in the Fallout or Doom series and you can guarantee they will be Xbox/PC exclusive.
Sometimes I sit down to read through opinion and commentary by other games industry writers – including some pretty big names – and I’m surprised how they can get it so wrong. It seems naïve in the extreme to be banking on any future Bethesda title – including huge ones like The Elder Scrolls VI and a potential future Fallout title – to be anything other than exclusive to Microsoft’s platforms. That’s how these things work, and it’s why Microsoft was willing to get out their wallet in the first place.
I wouldn’t bet on being able to play Starfield on your PlayStation 5.
Though it may seem “unfair” to lock games to a single platform (or pair of platforms, in this case) it’s how the industry has operated since day one. Nobody got upset about Marvel’s Spider-Man being a PlayStation 4 exclusive, even though that game wasn’t made by Sony, but rather one of their subsidiaries. It was just expected – Insomniac Games make PlayStation titles, just like 343 Industries make Xbox titles. Bethesda’s acquisition means they join Team Xbox. It may not be great fun for PlayStation gamers who had been looking forward to a future Bethesda title, but that’s the reality of the industry.
Be very careful if you hear an analyst or commentator saying that they believe Bethesda titles will still come to PlayStation. Rather than getting your hopes up or setting up false expectations, it may be better to plan ahead. If Starfield or The Elder Scrolls VI are games you’re dead set on playing, consider investing in Xbox. The Xbox Series S is a relatively affordable machine at £249/$299, and if you only need it for a couple of exclusives that you can’t get elsewhere it could be a solid investment – certainly a lot cheaper than a gaming PC.
The Xbox Series S might be worth picking up.
Despite all of this, I still feel Sony has the upper hand in the exclusives department, at least for now. It will be a couple of years or more before Microsoft can fully take advantage of their new acquisition, and other titles from developers like Obsidian – who are working on a game that looks superficially similar to The Elder Scrolls series – are also several years away. Sony, on the other hand, has games out now like Spider-Man: Miles Morales and the Demon’s Souls remake, as well as upcoming titles like God of War: Ragnarok and Returnal to draw players in. Microsoft is still pursuing a frankly bizarre policy of making all Xbox Series S/X games available on Xbox One for the next year or so, so for exclusive next-gen gaming in the short term, Sony is still the way to go.
I remember when Microsoft entered the home console market for the first time in 2001. A lot of commentators at the time were suggesting that Microsoft were buying their way in, that they would throw their wallet around and other companies would find it hard to compete. It never really happened, though, at least not to the extent some folks feared. The acquisition of Bethesda is a big deal, but Bethesda and all its subsidiaries have published only around 20 games in the whole of the last decade, so in terms of the wider gaming market, and considering how many games there will be on PC, Xbox Series S/X, and PlayStation 5 in the next few years, it’s a drop in the ocean.
That doesn’t mean it won’t sting for PlayStation fans who want to play Starfield or The Elder Scrolls VI, though. Better start saving up for an Xbox!
All titles listed above are the copyright of their respective studio, developer, and/or publisher. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-2, Short Treks Season 2, Star Trek: Picard, and other iterations of the franchise.
It’s been a while since we looked at Star Trek: Strange New Worlds, the upcoming Captain Pike series. But with production on Season 1 seemingly imminent – or perhaps having already begun, depending on what sources you use – I thought it would be fun to look ahead to what the first season of the show may hold.
At this stage, Strange New Worlds has only been commissioned for a single season. However, I would be absolutely stunned if we didn’t get an announcement preceding its Season 1 premiere that it had been renewed; this is the pattern ViacomCBS has had with both Discovery and Picard. I’m hoping, then, that Strange New Worlds will become an ongoing series, perhaps following Discovery’s path and running for four seasons, five, or even more. There’s certainly enough potential content for the show to get through, and while being a prequel is a constraint in some respects, that didn’t stop Discovery, Enterprise, and even the Kelvin films finding new and different stories to tell.
The USS Enterprise.
Just as I did for Discovery Season 4 and Picard Season 2 I’m going to make a few guesses – which I’m officially terming “preliminary predictions” – for Strange New Worlds Season 1. My usual caveat applies – I have no “inside sources,” nor am I claiming that anything listed below will definitely happen. These are guesses – educated guesses in some cases, perhaps, but guesses nevertheless.
Without further ado, let’s jump into the list!
Number 1: The uniforms will be redesigned.
Captain Pike’s gold uniform as seen in the Discovery Season 2 episode Brother.
With the exception of Star Trek: Voyager, every Star Trek series to date has introduced new variants of the Starfleet uniform for its crew. While we have seen Anson Mount and Ethan Peck sporting their Discovery uniforms in recent promotional spots for Paramount+, I’m not convinced that Strange New Worlds won’t at least tweak that design.
And perhaps that’s all it will be – a minor tweak or alteration of the uniforms worn by the Enterprise crew in Discovery. But we could see a more radical change, perhaps one designed to bridge the gap between Discovery-era uniforms and those seen in The Original Series. We could see, for example, the high collars scrapped in favour of the crew neck style seen in The Original Series.
Red uniform variant seen in the Short Treks episode Ask Not.
The uniforms worn by the Enterprise crew in Discovery were little more than recoloured versions of the Discovery uniforms, and if you look closely, you can see the detailing around the shoulder and down the sides. In my opinion, though these uniforms were preferable to Discovery’s all-blue look, they ended up looking like dyed Discovery uniforms rather than their own thing. This is something that could be addressed, even if only by making small changes to some of the detailing and stitching.
Regardless, I think that when we start to see promos for the new series, one thing we’ll notice is some kind of new uniform variant.
Number 2: Cadet Sidhu will be part of the Enterprise crew.
Cadet Sidhu.
The 2019 Short Treks episode Ask Not – whose writer, Kalinda Vazquez, is now writing a Star Trek film – brought back Captain Pike. But it also introduced us to a Starfleet cadet, and at the end of the action-packed, uplifting story, she was assigned to a role under Pike’s command aboard the Enterprise.
Almost any story could have been chosen to bring back Captain Pike for a mini-episode, but Ask Not spent most of its time setting up Cadet Sidhu’s character. She has a potentially interesting backstory, being the sole survivor of a Tholian attack, and as a young, talented cadet she could fill a fairly typical Star Trek role in the new series.
Captain Pike with Sidhu in the Enterprise’s engineering section.
We’ve seen the “young and eager” role filled by characters like Harry Kim, Sylvia Tilly, and even Wesley Crusher in past iterations of the franchise, and having someone like that presents a contrast with older, more experienced characters like Captain Pike and Number One. Cadet Sidhu also has a husband, who could potentially be a recurring character, and her background with the Tholians suggests she may not be quite as naïve and inexperienced as other cadets, potentially giving her more to say and do.
Of the main cast that we know of at this stage, all three roles are played by white American actors – Anson Mount as Pike, Ethan Peck as Spock, Rebecca Romijn as Number One. Every Star Trek show going back to The Original Series has proudly shown off a diverse cast, and bringing in someone of Indian heritage would be great. Amrit Kaur, who plays Sidhu, would be the first person of Indian heritage to be a main cast member in the history of the franchise, which would be groundbreaking in itself.
Number 3: There will be a non-Starfleet crewmate.
Cleveland Booker in Season 3 of Discovery.
One of the best things Discovery Season 3 did was introduce the character of Cleveland Booker. Book served as our guide to the 32nd Century in some ways, but also shook up the rigid hierarchy of the Starfleet crew by offering an outside perspective.
Several Star Trek shows have experimented with non-Starfleet characters in various roles, and aside from Book I’d point to Quark in Deep Space Nine and even, to some extent, Neelix in earlier seasons of Voyager as successful examples. I don’t expect Strange New Worlds to put together a Picard-style team where no one is a serving Starfleet officer, of course, but bringing in one major character who exists outside of the ship’s command structure would be potentially interesting.
Neelix in Star Trek: Voyager.
There are many ways this could be done, and many different roles such an individual could occupy. I’m thinking perhaps of a chef-type role, maybe someone who oversees the mess hall and is friendly with the crew. But there’s also potential to bring in an alien character who is perhaps aboard the ship as an observer or diplomat.
The possibilities are open-ended – as is almost everything with Strange New Worlds – but I certainly think that bringing at least one “outsider” into the crew can be a great storytelling device, one which could take the show to different thematic places.
Number 4: There will be a significant callback to Star Trek: Enterprise.
The NX-01 Enterprise.
Aside from a couple of Okudagrams and throwaway lines, modern Star Trek has essentially ignored Enterprise. The franchise’s first prequel currently feels disconnected from the rest of the franchise; cut off in the 22nd Century all by itself. There’s potential for Strange New Worlds to rectify this, and having a significant crossover with Enterprise would be something fun to see.
A few months ago I suggested that the Andorian Shran or main character T’Pol from Enterprise could still be alive and active in the era in which Strange New Worlds is set. Either character – or both – could thus cross over and appear in the new series. That would be a hugely significant moment, as it would firmly tie in Enterprise with the ongoing Star Trek franchise.
Sub-commander T’Pol.
Discovery could have done something similar to pay homage to Enterprise in either of its first two seasons, but with the show now set far in the future, any crossover potential has gone away. Strange New Worlds is currently the only 23rd Century series, and while the untitled Section 31 show or a future series may share the setting, that’s hardly a sure thing. So if the creative team at ViacomCBS want to bring up anything from Enterprise any time soon, this is by far the best place to do it.
If a main character crossover isn’t on the cards, there are still myriad other ways to acknowledge Enterprise in a major way. We could see Pike and the crew revisit a location first seen in Enterprise, or see the return of races like the Denobulans, Suliban, or Xindi, none of which have ever been mentioned outside of Enterprise.
Number 5: Ash Tyler will return.
Ash Tyler.
Of Discovery’s main cast from Seasons 1 and 2, only Ash Tyler didn’t travel into the future with Burnham and the rest of the crew. He remained in the 23rd Century, and at the end of the Season 2 finale we learned he would be appointed head of Section 31. It’s been assumed ever since (not only by me but by other fans and theory-crafters) that Tyler was intended to appear in the upcoming Section 31 series. However, as we recently learned, that show may be on hold for at least the next couple of years.
Ash Tyler’s story arc across Discovery’s first two seasons is arguably complete. He came to terms with what happened to him, his transition from Klingon to human and the two sides of his personality that created. He also went on a rollercoaster ride in terms of his relationship with Burnham. But there’s still a lot of potential in Tyler, and one thing in particular that leads me to believe that he could – in theory – have a role to play in Strange New Worlds.
Is this Ash’s brother? His cousin?
The character above is José Tyler, one of the original officers under Pike’s command in The Cage. Now I’m not expecting everyone we met in The Cage to be recast and appear in Strange New Worlds, but the possibility of a family connection between José and Ash seems like it could be fun to explore. Perhaps they’re brothers or cousins. If so, how would José react to the fact that Ash isn’t really Ash any more? That could be a huge source of conflict, and putting the two characters together to work through that might be a story worth telling.
Ash Tyler could also be part of a Section 31-related story, or even a story that sees the Enterprise picking up the last remaining pieces of the battle against Control. Ash shares a secret that only Pike and the Enterprise crew know – what really happened to the USS Discovery. As the head of Section 31, might he leverage that against Pike somehow to force him to take on a dangerous mission? There are, once again, almost an unlimited number of ways Ash Tyler could be used in the context of the new show. I doubt he’ll be a major starring character, but having him back for an episode or two seems a real possibility.
Number 6: The Enterprise will make first contact with a familiar race.
A Cardassian spy seen in The Next Generation.
One of the promises Strange New Worlds has made is that it will be a return to the kind of Star Trek that The Original Series, The Next Generation, and Voyager did so well, with stories focusing on exploration. Over the course of those series, the captains and their crews made numerous first contacts with alien races, and if Strange New Worlds is to make good on its premise, making at least one first contact seems inevitable.
If we look at Enterprise as the other major Star Trek prequel series, we saw first contact with established races like the Klingons, Romulans, and even the Ferengi – though Archer didn’t know who he was meeting in that last case. The point is, Enterprise went back and showed us how humanity first encountered many familiar Star Trek races – and this is something Strange New Worlds could do too.
Enterprise depicted Earth’s first contact with the Romulans, and several other familiar races.
I’ve written about this a number of times here on the website, but I adore Deep Space Nine, and particularly the Bajorans and Cardassians. We’ve never seen the Federation make first contact with either of them, and it could be very interesting to see how it went. The Cardassians would likely still be a militaristic state, but we know that the Bajorans prior to the Cardassian occupation were very different – operating a caste-based society that the Federation would surely disapprove of.
If not the Cardassians or Bajorans, there are many other Star Trek races which had already been contacted either by the time of The Original Series or The Next Generation that we could see Captain Pike and his crew meet for the very first time. Among them could be the Gorn, Tholians, or even a relatively obscure race like the Sheliak, who only appeared in a single episode. In my opinion, making first contact with an established race would tie Strange New Worlds in to the wider franchise, and that’s something that I firmly believe every Star Trek series needs to be doing.
Number 7: Spock will mention Michael Burnham at least once.
Burnham and Spock in the Discovery Season 2 episode Project Daedalus.
Season 2 of Discovery explored in some detail the relationship between Burnham and Spock. They were raised as siblings on Vulcan by Sarek and Amanda, and Burnham appears to have been quite influential in Spock’s life and in his development. At the end of Season 2, Spock stated his intent to travel to the future with Burnham, and while we know that was never going to happen because of his other appearances in the franchise, it indicates how close they were.
Burnham’s loss is akin to a bereavement. Although the final red burst confirmed that she safely made it to the 32nd Century, Spock will never see Burnham again (barring some other time travel story!) so she’s gone from his life. How will that affect him? While Spock may, on the surface, appear to simply brush off the events of Season 2, he went through a heck of a lot. The loss of Burnham may be the worst part, but being accused of murder, having his mind scrambled, travelling to Talos IV, and being hunted by Control will have all taken a toll.
Captain Pike and Spock watch Burnham and the USS Discovery disappear into the future.
Burnham had her “Spock episode” with Unification III midway through Discovery Season 3, so I wouldn’t be at all surprised if Strange New Worlds reciprocates somewhat and gives Spock his own “Burnham episode” – or at least a Burnham moment. Moving on completely as if everything he went through in Discovery Season 2 never happened wouldn’t sit right, so I’m sure there will be at least some reference or acknowledgement of Burnham from Spock.
It may not be a complete story, rather just a line or two of dialogue in which Spock mentions how much he misses Burnham. But I do expect to see some kind of reference or connection. Despite Spock being a long-established character within Star Trek, Strange New Worlds is a spin-off from Discovery, and this version of the character in particular is tied to Burnham very strongly. Making note of that would also be a reminder to the audience that Discovery is Strange New Worlds’ sister show – another of those little ties between ongoing parts of the franchise that I mentioned.
Number 8: Pike will have to deal with the knowledge of his impending accident and disability.
Captain Pike after his accident, as seen in The Original Series Season 1 episode The Menagerie.
Captain Pike not only saw his future at the Klingon monastery on Boreth, but he actively chose to accept his horrible fate in exchange for a time crystal. This happened toward the end of Season 2, and with the battle against Control to prepare for, he didn’t have much time to really stop and think about what that means. But Strange New Worlds will surely slow things down – at least some of the time – giving him pause for thought.
In the moment, Pike did what he needed to do and embraced his dark future. Will he regret that? Will he be worried at every turn, looking over his shoulder for the moment where his accident will occur? If so, who will help him snap out of it? It would be very easy for someone in his position to fall into depression – after all, what he’s going through is akin to being diagnosed with a terminal disease.
Pike sealed his fate in the Discovery Season 2 episode Through the Valley of Shadows.
We have seen Star Trek tackle this subject before, but only in the format of one-off episodes. Having a main character who is aware of his impending health collapse and disability could be something that’s absolutely worth exploring. In a way, I can relate to Captain Pike. Over the last decade or more I’ve seen my own health gradually decline, and while it isn’t quite the same thing (Pike’s accident takes him from full health to total disability in a heartbeat) I’ve been in the position of hearing a doctor tell me really awful news, knowing that there isn’t anything I can do to fix it.
Star Trek usually does things by analogy, so rather than Captain Pike being diagnosed with a real-world life-limiting condition, he’s seen a vision of his future disability in a time crystal. But the impact it could have on him from a psychological point of view is comparable, and this could, in my opinion, be a great way for Star Trek to explore the complexities surrounding incurable illness, long-term health conditions, disability, and even terminal illness. There are many, many ways such a story could go, and I’ll be fascinated to see what direction the show takes with this.
Number 9: There will be either a time-travel or parallel universe story.
Kirk’s captured Klingon Bird-of-Prey travelling through time in Star Trek IV: The Voyage Home.
Time travel has been a part of Star Trek going back to Season 1 of The Original Series, and we’ve seen a number of episodes take place in both the past and future. With Strange New Worlds sending Pike and the Enterprise off on a mission of exploration, they could easily encounter any of the temporal phenomena that we know exist out there in space.
I’ve never been wild about time travel in Star Trek, and often the episodes in which it features aren’t my favourites. Using time travel to visit contemporary Earth inevitably dates a story, too – just look at Star Trek IV: The Voyage Home or the Voyager two-part episode Future’s End as examples of that! But just because time travel isn’t my personal favourite story element doesn’t mean it can’t work well, and I wouldn’t be surprised at all to see Strange New Worlds pursue a story of this nature.
Voyager visited ’90s California in Future’s End.
The main candidate when considering time travel has to be the aforementioned contemporary Earth, in this case, Earth circa 2021! But we’ve seen time travel stories set in the 1890s, the 1930s, and even a dark vision of the 2020s! It could also be fun to see the crew shot forward in time, and perhaps having to rely on the help of a time-travelling future Starfleet to get home.
Alternatively we could see a parallel universe story – though hopefully not the Mirror Universe! The Mirror Universe is potentially home to the prime version of Captain Lorca, and rescuing him could be an interesting story. But there are many other parallel universes – including the alternate reality where the Kelvin films are set. Could that set up a crossover with the alternate reality versions of Pike and Spock?
Number 10: The show will acknowledge current events.
The COVID-19 pandemic has been the biggest and most disruptive event in many years.
The big story of 2020 was, of course, the pandemic. But there are other significant ongoing events, such as the issue of race in the United States, that Strange New Worlds could try to tackle. Star Trek, despite what some people want to tell you, has always been a franchise with a keen interest in contemporary events. Going all the way back to The Original Series, Star Trek has used its sci-fi setting to look at real-world events, and I wonder to what extent Strange New Worlds will try to do that.
In a series that aims to be more episodic than other recent Star Trek projects, Strange New Worlds could certainly dedicate at least one episode to looking at a major current event. The pandemic is something we have yet to see appear in fiction in a big way. The issue of race, on the other hand, is something we’ve seen tackled many times in many different ways.
Star Trek has looked at the issue of race relations in the United States before, notably in the episode Let That Be Your Last Battlefield.
A story touching on issues raised by the pandemic could look at, for example, a planetary society suffering from disease, but where a significant number of people refuse to take precautions – something we’ve seen all across the world to varying degrees. Or it could look at the long-term impact of isolation through a character or set of characters who haven’t had any outside contact for a long time.
Any series that plans to look at aspects of the ongoing pandemic has to tread carefully, in my opinion, to avoid appearing to sensationalise current events or to be seen to be exploiting the situation. But as one of the biggest events of the 21st Century so far, the coronavirus pandemic will be explored in art and entertainment many times in the years ahead, and there’s no reason why Star Trek shouldn’t tackle it – provided it does so tactfully.
Number 11: The Klingons will make an appearance.
A Klingon general from Lower Decks.
Federation-Klingon relations went on a rollercoaster in the 23rd Century, to say the least! From ignoring one another to all-out war to a peace conference, the two factions did it all. One thing we have yet to see is the way in which the Klingons changed following the war depicted in Discovery – and no, I don’t mean the prosthetic makeup!
When L’Rell took power at the end of Discovery Season 1, she sued for peace with the Federation, after which Federation-Klingon relations appear to have thawed, at least a little. Yet within a decade or so, the Klingons were once again incredibly antagonistic toward the Federation, with conflicts and battles fought during this era.
Chancellor L’Rell in the Discovery Season 2 episode Point of Light.
Perhaps we could see something happen between the Klingons and Federation to set them on this antagonistic path. Captain Pike has built up some degree of goodwill with the Klingons, but seeing this evaporate would be a potentially interesting story. We could also welcome back Mary Chieffo as L’Rell in a story focusing on the Klingon Empire.
Just like we need to see Section 31 disappear and move underground, we also need to see the Klingons and Federation move apart. Another all-out war is not required, but seeing the situation deteriorate and even the cutting off of diplomatic relations would “reset” the Klingons closer to the way they were in The Original Series.
So that’s it.Ten Eleven preliminary predictions for Season 1 of Strange New Worlds. As I said when the series was first announced, 2022 seems like a reasonable guesstimate for when it’ll premiere, and that was backed up by the news we got a few weeks ago about which shows are in production and how far along they are. So while it’s definitely early to be considering what we might see from the new show, it’s not too early! Who knows, it could be this time next year that Strange New Worlds makes its debut!
Anson Mount has recently featured in the ad campaign for Paramount+.
I hope this was a bit of fun. And just to re-emphasise what I said at the beginning: I don’t have any “insider information,” this is just guesswork from a fan. Nothing more! So don’t get upset if none of what I suggested above ultimately comes to pass!
I’m really looking forward to Strange New Worlds. It seems to be offering more of a “classic” take on Star Trek when compared to recent projects, and I’m 100% there for that! The franchise has expanded, and there’s plenty of room for serialised drama and even animated comedy, but taking Star Trek back to its roots is definitely something I’m keen to see. That doesn’t mean every project should try to do the same thing, but it does mean that Strange New Worlds is close to the top of the list of shows that I’m most excited about!
If we get any major news, casting information, or a trailer be sure to check back as I’m sure I’ll have something to say. Other than that, all we can do is wait!
Star Trek: Strange New Worlds is coming to Paramount+ at some point in the future. International distribution has not yet been announced. The Star Trek franchise – including Strange New Worlds, Discovery, and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for the episodes on this list.
At time of writing, the 700th episode of The Simpsons is imminent. Aside from soap operas, which are usually broadcast daily, very few shows come close to reaching that mark. The Simpsons is the longest-running scripted television series in US history, having made its debut in 1989 – 32 years ago! So there must be at least twelve decent episodes, right?
I first encountered The Simpsons in the mid-1990s. The first episodes to be broadcast on terrestrial television here in the UK were in 1996 or 1997, and I recall that it used to occupy the 6pm slot on the BBC. In the late 1990s this would mean it was on right before Star Trek: Deep Space Nine and Star Trek: Voyager, providing a nice little extra as I sat down to my favourite shows!
The Simpsons in its heyday was funny, clever, and a satirical take on the idealistic sitcom families of the 1970s and 1980s. It took television tropes of that era and turned them on its head. It showed a “darker” side of American family life than other shows of its era, with a dysfunctional family at the centre. That edginess held a particular appeal, as did The Simpsons’ style of humour. Some of its nuance and specific America-centric jokes went way over my head in my youth, but I came to enjoy what the fun cartoon had to offer. The fact that The Simpsons was detested by my parents and others of their generation was another great point in its favour! In that sense, perhaps I associate earlier seasons of The Simpsons – which we got in the UK several years after their US premiere – with my burgeoning adolescence. The show came along when I was at that age – having outgrown kids’ cartoons and looking for something edgier and more serious.
It will come as no surprise, then, that the earlier seasons of The Simpsons hold most of my favourite episodes. Despite that, I have watched every season of the show at least once, and while I agree with the general consensus that the quality declined somewhere after Season 9 or 10, most seasons have had decent episodes, and most episodes manage to win a chuckle for the odd good joke, even if the premise or story itself is less fun overall.
Looking at a series that has endured for more than 30 years offers some unique challenges. Is it fair to assess The Simpsons’ overall output; all 700 episodes? If so, the show is undoubtedly mediocre, with far more sub-par episodes than good ones. But if we break The Simpsons down into two distinct eras – its ’90s heyday and then the more recent seasons – we can perhaps be fairer in our assessment. Think of it as comparable to assessing the musical legacy of artists like Bob Dylan or The Rolling Stones. In their heydays, both put out incredible, genre-defining work. But as they kept going and going and going some more, the music they were making became stagnant and its quality dropped. Can we call the careers of either artist mediocre because of a back catalogue overflowing with uninspired work that doesn’t live up to their early successes? I would argue no, both Bob Dylan and The Rolling Stones should be considered musical greats – that their early work defines them, not their mediocre decades. The same should be true of The Simpsons when we come to write its eulogy. It was a great show once. It isn’t any more, but it was once – and it was such a great show that it redefined American humour for an entire generation and spawned a whole genre: adult animation. Without The Simpsons we wouldn’t have Family Guy, South Park, Rick and Morty, or even Star Trek: Lower Decks. It’s an influential series; a landmark in both the history of television and ’90s popular culture.
So without any further ado, let’s take a look at my twelve episodes. For the record, because I know people like to throw tantrums and get upset: I’m not saying that these episodes are objectively the best, nor that they represent the absolute pinnacle of The Simpsons. These are simply twelve episodes from the show that I consider to be great and well worth a watch – especially if you’re looking for something to watch on Disney+!
Number 1: Simpsons Roasting on an Open Fire (Season 1, 1989)
Where better to start than at the beginning? Airing just before Christmas 1989, Simpsons Roasting on an Open Fire launched the series. The characters were not new – they had been part of The Tracey Ullman Show going back to 1987 – but this Christmas episode marked their solo debut. As I wrote the last time I looked at this episode on one of my Christmas lists, it represents a series finding its feet. Not all of the characters or other elements of the show that we would come to know are present yet, but the feel of The Simpsons was firmly established.
Even as Homer spirals downward, it’s impossible not to sympathise with him. The down-on-his luck dad genuinely trying to save his family’s Christmas is an oddly timeless story, one that works just as well in 2021 as it did in 1989. In my opinion, any fan of The Simpsons needs to watch this episode – if for no other reason than to see where it all began!
Number 2: Krusty Gets Busted (Season 1, 1990)
Kelsey Grammar became the first household name to guest-star in an episode of The Simpsons in this episode. He plays the role of Sideshow Bob – a character who recurs occasionally to this day! Bob attempts to frame Springfield legend – and Bart’s hero – Krusty the Clown for armed robbery, and what transpires is an astonishingly good piece of television that incorporates elements of action, mystery, and courtroom drama.
The Simpsons had already proved across its first season that it was more than just dumb jokes and simple comedy, but for me, no other Season 1 episode epitomises this better than Krusty Gets Busted. It managed to be witty and clever, taking the audience on a wild ride as Bart and Lisa attempt to prove Krusty’s innocence in spite of seemingly overwhelming evidence.
Number 3: One Fish, Two Fish, Blowfish, Blue Fish (Season 2, 1991)
Guest-starring Star Trek’s George Takei, this episode was surprisingly sombre for an animated comedy. After Lisa prompts the Simpson family to try sushi, Homer accidentally consumes the poisonous fish fugu, and is given 24 hours to live. He begins to prepare for death, and though the episode contains a number of jokes and gags, it really showed that both the series and Homer himself can be serious.
Homer makes a bucket list of things he wants and needs to do, the most touching of which were making amends with Grandpa and recording a video for Maggie. More recent episodes focusing on Homer have either shown him to be rude and selfish or a complete clown, so this goes down as a story that shows how Homer used to be – a regular guy trying his best. He has heart in this story, and his impending death doesn’t just mean he wants to do things for himself, but rather for others – for his father, his daughter, and his friends.
Number 4: Flaming Moe’s (Season 3, 1991)
There are a few episodes of The Simpsons that are absolutely iconic, and Flaming Moe’s has to be one of them. Focusing on the relationships between Homer and Moe and Homer and Bart, it’s a surprisingly dramatic story with a truly silly premise! That concept is something that the show did especially well in its early years. Homer accidentally invents an amazing drink – the “Flaming Homer” – but Moe steals his recipe and uses it to drive business to his bar.
Moe is a strangely relatable character, at least for me. He does a lot of bad things across the show’s run, and is by no means sympathetic, but he’s driven by depression and loneliness. While that doesn’t excuse his actions in Flaming Moe’s, the desire to be successful and lauded, especially for someone who feels so low much of the time, is at least understandable, and the episode manages to be more than the sum of its parts because of the nuance in both Moe and Homer’s characters.
Number 5: Homer at the Bat (Season 3, 1992)
We don’t have baseball or softball in the UK, so some of the gags in Homer at the Bat went over my head on first viewing! But it’s a truly funny story, as Mr Burns tries to cheat at softball by hiring professional players to work at his power plant – a commentary both on the way some countries run their Olympic teams and on the concept of college sports.
In true ’90s sports movie style, Homer ends up winning the important game by accident! It’s a fun romp, one which shows Mr Burns at both his most devious and eccentric, as well as looking at the sport of baseball in some detail.
Number 6: Mr. Plow (Season 4, 1992)
Another of The Simpsons’ most iconic episodes, Mr. Plow shows Homer stepping away from his usual job at the nuclear plant to start his own snowplow business. I like winter time and winter-themed episodes, so this premise was a lot of fun. But in true Simpsons style, things don’t go to plan for Homer. After initially becoming successful as the town’s snowplow of choice, Homer loses it all when Barney (of all people) jumps into the business as his competitor.
The “Mr. Plow jingle” became an early meme, and it’s a great example of the show’s early humour and depictions of Homer. By creating the silly five-second jingle, Homer imitates other commercials of the era in his own way. The whole Mr. Plow commercial perfectly captures low-quality local television commercials of the 1990s and was absolutely hilarious.
Number 7: Homer’s Barbershop Quartet (Season 5, 1993)
There have been some great flashback episodes across the show’s run, providing elaborate backstories to many of the characters. In Homer’s Barbershop Quartet, we learn that Homer – along with Apu, Barney, and Principal Skinner – used to be famous. The plot parodies the rise and fall of The Beatles, from the band getting together, having a string of hits, and subsequently falling apart, but like many earlier episodes, it manages to be gentle in its treatment of the subject it tackles – it’s a send-up of The Beatles without being mean-spirited.
The reunion concert which closes the episode is of course a reference to The Beatles’ famous rooftop concert in 1969, and was a truly touching moment for the episode to end on. This is another episode that manages to have plenty of jokes, but still tells a story with emotion and heart. There are some great songs, too!
Number 8: Itchy & Scratchy Land (Season 6, 1994)
I’ve written before about how I greatly enjoy Disney World and other Disney theme parks, and Itchy & Scratchy Land is a perfect parody of them! Homer and Marge take the kids on holiday to the titular theme park, but things go wrong almost from the first moment they arrive. Seeing Bart and Lisa begging for the vacation was cute and funny, and Homer buying “Itchy & Scratchy money” only to find it isn’t accepted at any of the shops in the park was a hilarious gag.
The episode later turns into a send-up of Jurassic Park when the theme park’s animatronics come to life and begin attacking the family. Of course they manage to survive and escape, but it’s a surprisingly tense and action-filled second half to an episode that started out as a gentle family holiday parody.
Number 9: Lisa the Vegetarian (Season 7, 1995)
A show like The Simpsons typically “resets” after each story, with any growth or change the characters experience being largely ignored in subsequent adventures. A rare exception to this came in Lisa the Vegetarian, which added a new dimension to the character of Lisa. Lisa’s vegetarianism has gone on to be a defining feature of her character, a major part of making her the show’s liberal, left-leaning voice.
Paul and Linda McCartney, who guest-star, were already committed vegetarians by this point, and making Lisa a vegetarian was done in their honour. Linda McCartney sadly passed away less than three years after the episode was broadcast. A true gem that often flies under the radar when fans put together “best of” lists, Lisa the Vegetarian tackles some deep issues in The Simpsons’ typically fun way and deserves more recognition.
Number 10: The City of New York vs. Homer Simpson (Season 9, 1997)
New York City in the 1990s was experiencing somewhat of a renaissance, and this episode shows why. Homer had a bad experience in the crime-riddled city years previously and refuses to go back, but when Barney leaves his car parked at the World Trade Center, Homer and the family must go there to retrieve it.
I’ve only been to New York a couple of times, but the city is absolutely iconic. This episode does a fantastic job of capturing the look and feel of New York, and as we see part of it through Homer’s eyes, it isn’t quite the paradise it wants to be! The city can be confusing and difficult for tourists and newcomers, and The Simpsons’ gentle prodding shows why. We really see two sides of New York in the episode – Homer’s dark vision of the city and the rest of the family’s vision of a fun place to visit.
Number 11: Treehouse of Horror X (Season 11, 1999)
I wanted to put at least one Treehouse of Horror episode on the list, because The Simpsons Halloween specials have always been fun. It’s unusual for any series to regularly roll out “non-canon” episodes, but the annual Halloween specials are a perfect example of how The Simpsons doesn’t take itself too seriously.
In the tenth outing (the Treehouse of Horror specials first appeared in Season 2) the three mini-stories focus on the family running over Ned Flanders in a parody of the 1997 horror film I Know What You Did Last Summer, then Bart and Lisa gain superpowers in a gentle send-up of nerd culture and collecting, and finally Homer accidentally brings about the end of the world – courtesy of the millennium bug! Do you remember “Y2K” and how a lot of folks were in a panic about that? It was a big deal in 1999, and was the perfect way for that year’s Halloween special to end.
Number 12: Mypods and Boomsticks (Season 20, 2008)
I wanted to choose at least one recent episode for this list – though I suppose 2008 is stretching that definition a little – to prove that The Simpsons does still, at least on occasion, get it right. Mypods and Boomsticks partly focuses on Lisa as she overspends on music for her new MyPod – a not-so-subtle iPod parody. But the main reason it succeeds is in its depiction of Homer and his interactions with a new Muslim family.
The Simpsons in its early years tried to be a dark mirror of American society, showcasing and parodying the darker side of everyday American life. After the 9/11 attacks, anti-Muslim prejudice rose significantly in the United States, and Mypods and Boomsticks is the show’s attempt to look at the issue. Homer initially suspects his new neighbours are plotting a terrorist attack, but it’s later shown that he’s completely mistaken. The episode was praised by many Muslim groups in the United States for breaking down stereotypes and presenting a positive depiction of American Muslims.
So that’s it. Twelve great episodes of The Simpsons.
There are far, far more great episodes that I didn’t put on this list – so maybe this can be a topic to revisit one day! The Simpsons, especially in its early years, was a fantastic and very witty series, so there are dozens of truly outstanding episodes to choose from. It’s certainly true that recent years have seen a drop in quality, but perhaps that’s as much to do with the way entertainment and humour have moved on than it is to do with the series itself.
The Simpsons pioneered a new style of comedy and brought animation to the world of adult entertainment for the first time. A whole host of shows that are going strong today owe it their existence, and it will always have a place in the history of television. If you have Disney+ you have access to the show’s entire back catalogue, and while I’ve recommended twelve episodes here, there are so many more that are worth your time as well.
As a comedy series I first encountered in adolescence, The Simpsons holds a special place for me as a piece of my youth. In its heyday it was a slice of American counter-culture that definitely upset the crusty old grown-ups, and I wasn’t alone in appreciating that side of the show’s darker, edgier humour.
That’s about all I have to say. The Simpsons was a fantastic series, and I had fun choosing a small number of great episodes from its almost 700-strong back catalogue. I hope this was a bit of fun for you too!
The Simpsons is available to stream now on Disney+ and is also available on DVD. The Simpsons, and all episodes listed above, are the copyright of the Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I watch at least one video on YouTube practically every day, and there are a few channels that I regularly stay up-to-date with. There are some great, well-produced videos, mini-documentaries, and short films on almost any topic you can think of – including a growing number of Star Trek channels, which is great to see! But we’re off-topic already. YouTube itself runs adverts on most channels and many of the videos on its platform, and that’s one aspect of the question I’m going to ask today. But there’s another, and it’s one that primarily affects channels when they reach a certain size: paid sponsorships.
I’ve talked before about paid reviews on YouTube, which is a slimy practice that needs to be abolished. But this article isn’t about what specifically is being advertised or even the way in which YouTube channels handle what products and services they choose to associate with. Rather it’s a simple question: what is the right ratio of advert to video? Or to put it another way: how much of the runtime of a video can and should comprise sponsorships and other advertising?
Getting the balance right between advertising and content is difficult for some YouTube channels.
This question was prompted by a video I watched recently – and no, I’m not telling you which one as that would be unfair. This article is not intended to single out any one individual YouTube channel for criticism; it’s a common enough problem across the platform. The video I watched clocked in at just over seven minutes long, which is about average for the channel in question, and because I’m a huge nerd as you well know, it was about trains.
The channel in question runs ads, and as such I was forced to sit through a pre-roll advert before the video played. Luckily this only lasted a few seconds, and while it is somewhat outside the channel’s control, the fact that YouTube shows ads is another layer in answering my question as we’ll see in a moment. After the pre-roll ad, the video began. But of the seven-minute video, the first minute-and-a-half was entirely dedicated to the aforementioned paid sponsorship – this time for a VPN service. 90 seconds may not seem awfully long, and in the grand scheme of things it isn’t – but in a video this short, 90 seconds is already more than 20% of the total runtime.
And that wasn’t all. After the main portion of the video had concluded, I was surprised to see the timer was sitting only at the 6:15 mark. The remaining 45 seconds of the video were dedicated to the YouTuber plugging their Patreon account (where fans can pay monthly to support the channel) as well as another reminder to sign up for the crummy VPN service that was sponsoring the video. That means that, of the seven minutes of total video time, two-and-a-quarter minutes were taken up with advertising. That’s practically one-third of the total runtime of the video, without even accounting for the pre-roll ad. To me that’s just too much.
Everyone is trying to make money – understandably so.
In a way we’re spoilt by the internet offering so much ad-free content. Netflix, Paramount+, Amazon Prime Video, and other streaming services generally don’t run any ads at all, and compared to broadcast television, which takes frequent and long ad breaks, online content is pretty consumer-friendly. But that doesn’t mean we should give content creators a free pass or let things slide when they go too far.
Even in the United States, where the rules around advertising on television are lax compared to the UK, no television channel is dedicating one-third of its time to ad breaks. When I lived in the United States in the mid-2000s, prime time television shows would show around 15 minutes of ads per hour – which is, if you’re quick with the maths, one-quarter of their time.
Older, more established YouTube channels tend to have a better handle on this problem, having worked out the right balance between making money and what their audience is willing to put up with. Thus it tends to be newer YouTubers, or channels which have only recently become popular, that fall prey to excessive advertising and overly-long sponsorship slots, at least in my limited experience with the platform.
This issue seems to affect newer YouTube channels more.
I don’t want to begrudge anyone making money, especially in the current economic climate. But there are good and bad ways to go about doing so, and there are good and bad ways to handle advertising and sponsorships. I don’t think I’d be alone in saying that a video which is one-third advert is too much, and this can become costly for YouTubers. They can lose subscribers, receive dislikes, receive negative comments and feedback, etc. It’s not uncommon to see comments calling out a YouTube video for dedicating too much time to advertising, and negative comments can be hurtful and even offputting.
Some videos can make the actual topic feel secondary, as if the video and indeed the whole channel only exist for the purpose of advertising. The content underneath the ads is what viewers come to YouTube for, and when that feels unbalanced it becomes very offputting. Whatever trust may exist between a YouTube channel and its audience becomes strained. This isn’t just the case when a YouTube channel is advertising a product or service close to the subject of the video, either.
Striking the right balance and getting the right advert-to-video ratio is important for any amateur on YouTube who hopes to make money on the platform. It’s worth any aspiring YouTuber taking a look at established channels to see how they handle things rather than launching headfirst into a sponsorship agreement without thinking it through. In the case we looked at, the two-and-a-quarter minutes of advertising would have felt far less egregious on a video that was twenty minutes long, so as I alluded to it’s not the raw length of time spent on advertising that’s the issue. Instead it’s making sure to get the right balance between time spent on advertising and time spent on the actual video. How much time in seconds or minutes to spend on advertising will depend on the channel and the length of video that the YouTuber intends to produce.
Being offered a large sum of money by advertisers can be very tempting to aspiring YouTubers.
As a good rule of thumb, I would suggest no YouTube video should try to pack more than 10% of its total runtime with advertising, and I would include in that plugging Patreon, PayPal donations, YouTube channel memberships, and the like. YouTube has recently become more aggressive with its own advertising, and it’s not uncommon to see two pre-roll ads now, as well as ads that run in the middle of a video, so YouTubers should try to take that into account when adding in their own ads.
It’s not always easy to make money on YouTube, and I’m sure that sponsorships are a very tempting prospect for an up-and-coming channel. But YouTubers in that position need to be very careful that they aren’t putting off their audience and potentially seeing those subscriber numbers and total watch hours drop as a result of being too aggressive. Usually this problem corrects itself; if a YouTube channel goes too hard and too fast on the paid sponsorships, they wise up either because they lose viewers or because of the backlash it generates. But it’s something to be aware of for anyone starting a YouTube channel and intending to pursue it as a money-making endeavour.
So what’s the tl;dr? In my opinion it’s about 10% or less. 90% or more of proper video content, 10% or less of adverts and self-promotion. Shorter videos in particular need to be careful with this, as it’s on shorter videos where I’ve found that the balance has not been correctly struck more often than not.
Sorry for the rant, but this is something that was really bugging me today for some reason!
Some stock photos used here are courtesy of Pixabay and Unsplash. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I’m a bit late to the party on this one, so you’ve probably already heard the news that a new Star Trek film is being worked on over at ViacomCBS/Paramount Pictures. It’s still interesting, though, so let’s take a moment to consider what it could be and what its inception may mean for the rest of the franchise.
Firstly, it now seems certain that the other Star Trek film projects that had been announced or discussed publicly are not happening. We should never say “never,” of course, and it’s not impossible that they may be revived in future, but for now it seems that the unified Star Trek team (working together since the 2019 merger that created ViacomCBS and reunited Star Trek’s film and television licenses) has decided to drop those projects and go in a different direction.
The new film is being created under the supervision of ViacomCBS.
The three films we knew about were: a fourth Kelvin-timeline film, a project that had been pitched by Quentin Tarantino, and a project by Fargo television series co-creator Noah Hawley that was supposedly ready-to-go. From what I can tell at this stage, none of these are happening now. To me, the continuation of the Kelvin timeline was perhaps the lesser of the three, but I was certainly interested to see what renowned director Quentin Tarantino would have brought to Star Trek, so the cancellation or shelving of his project is a little disappointing. Having been rejected once, I doubt Tarantino would be tempted to come back, especially if he’s moved on to other projects, and that’s a shame. Though we don’t have any confirmed details of his script or what the story would have entailed, I wonder if, as time goes by and we learn more about that project, it will come to be seen as a missed opportunity.
But enough about the Star Trek films we aren’t going to see! What about this new one?
All we know at this stage is that it’s being penned by Star Trek: Discovery writer Kalinda Vazquez. Vazquez wrote the Short Treks episode Ask Not, which brought back Anson Mount as Captain Pike, as well as introduced Cadet Sidhu – a character who may end up appearing in the upcoming series Strange New Worlds. She also wrote Terra Firma, Part II from Discovery’s third season, and served as a producer during that season as well.
Cadet Sidhu in Ask Not.
All in all, I think that’s a pretty good track record! Terra Firma as a whole was one of Star Trek’s best Mirror Universe stories – and that’s saying a lot, because the Mirror Universe is a setting I don’t generally enjoy. Ask Not was good fun too; a tense and dramatic short story that ended in a very uplifting way. Just based on those two stories – the sum total of Vazquez’s Star Trek output – the project would seem to be in good hands. Add into the mix that she’s worked on Fear the Walking Dead and it seems like the team over at ViacomCBS have made a solid pick. I’m already excited about the proposed film!
But not too excited yet. This is the fourth Star Trek film that has been publicly discussed in recent years, and as mentioned above, none of the other three were greenlit or entered production. So as interesting as this sounds, I think it’s best to try to keep the hype to a minimum and not get over-excited – at least not until filming has definitely begun.
Quentin Tarantino couldn’t get his Star Trek project off the ground. Will this new film succeed where his didn’t? Photo Credit: Georges Biard, CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0, via Wikimedia Commons
The film is said to be a new take on Star Trek, and I infer from that that we won’t be following an established crew. Despite Vazquez’s earlier work, this isn’t Star Trek: Discovery – The Movie! This concept – to bring in an entirely new crew for a feature film – is actually new to Star Trek. While the Kelvin films brought in a new cast that hadn’t previously been part of any Star Trek production, the characters they played were based on those from The Original Series. The other Star Trek feature films starred the casts of The Original Series and The Next Generation respectively, so starting entirely from scratch is a new model for a Star Trek film. It means attention must be paid to establishing who the characters are early in the story, as well as setting up where and when the action is taking place. It perhaps limits the main cast to a smaller number – three or four principal characters instead of a larger bridge crew – simply to allow us as the audience to get to know them better and follow their stories.
Starting afresh opens up the film to take almost any era, setting, and narrative that the creative team chooses. The Star Trek galaxy has at least 1,000 years of history to explore now that Discovery has firmly established itself in the 32nd Century, and there are whole areas of the galaxy that are unexplored. This means that there’s great potential for the new film to take a half-step away from familiar alien races and look at something new. That’s exciting, and I’m left at this stage with a sense that the project is very open in terms of what kind of story it could tell.
The galaxy is a big place!
It’s been suggested by some commentators that ViacomCBS would like to see a full theatrical release for this new film, but I couldn’t confirm that anywhere online; it seems to be opinion interjected by commentators. So I’d like to suggest for the record that this film could just as easily go straight to Paramount+. With ViacomCBS investing heavily in their new streaming service, as well as being keen to emphasise that it will be the new home for Star Trek going forward, it would make sense to bring new projects directly to their streaming service.
Disney+ has trialled the “premiere access” approach – asking subscribers to pay an additional fee to watch Mulan late last year and Raya and the Last Dragon this month. Time will tell how successful such an approach has been for Disney, but it’s something that Paramount+ could consider as well in lieu of a full release in cinemas. Obviously I have a bit of an agenda in this case – as you may recall if you’re a regular reader, my health makes it impossible for me to go to the cinema these days. But even though I’m biased, I still think we could see this project come to Paramount+ as an exclusive title!
So that’s really about all I have to say. The new film has potential, and I shall watch its progress with cautious interest. For me, while Star Trek has primarily been a television franchise, I’ve greatly enjoyed its feature films as well, so there’s definitely reason to be intrigued by the open-ended possibilities of a new project of this nature. Good luck to Kalinda Vazquez and the rest of the creative team!
The Star Trek franchise – including all projects mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
It’s been almost a full year since the coronavirus pandemic hit the UK in a major way. In late March last year I was advised by the National Health Service that I’m classified as “clinically extremely vulnerable” to COVID-19, and more likely to suffer serious complications from this nasty illness. That didn’t come as a surprise to me – and if you’ve been a regular reader here on the website you’ll know I’m in generally poor health. Because of my pre-existing health conditions I was put into one of the NHS’ priority groups to receive the coronavirus vaccine.
At the end of February I was given my vaccine appointment, and I promptly attended it. The UK’s vaccine rollout has been one of the best in the world, and the NHS deserves a huge amount of credit for the way they’ve handled things. Though there can be reasons to criticise the bureaucracy at the NHS sometimes, there can be no denying that, in this case, having a centralised system has helped immensely. Once the NHS got the ball rolling on vaccinating folks late last year, it became an unstoppable juggernaut, and the UK looks to be on course to have vaccinated everyone who could be vulnerable to coronavirus in short order, with the remainder of the population also vaccinated in time for summer.
I’ve had my first dose of the vaccine!
My vaccination appointment went incredibly smoothly. I arrived on time, and was guided to the right entrance to the health centre by one of a number of volunteers. Once inside I gave my name and date of birth, and was handed a card which noted the batch number of the vaccine. From there I waited in the queue for less than five minutes, at which point I was ushered into a room, answered a couple of questions, and within literally 30 seconds of sitting down the needle was in my arm. And that was that. A very efficient process indeed!
Nobody likes getting an injection, and I will admit that my arm was a little sore in the hours after my appointment. But feeling the needle go into my arm was actually an incredible moment. After a year of shielding myself at home, not interacting with friends or family except online, and not being able to go anywhere or do anything, it was cathartic. It felt like the first step toward a return to normal life, and after the year we’ve all had, I’m more than ready for that!
I wasn’t sure whether or not to share my vaccine experience. This website is really a forum for me to discuss entertainment topics, so it isn’t really a good fit, nor is it something I would usually talk about. But unfortunately the coronavirus pandemic has seen a number of conspiracy theories propagated, including an expansion of anti-vaccine conspiracy theories. In whatever small way I can, I wanted to lend my voice and share my experience to re-emphasise that this vaccine is safe and to push back against anti-vaccine narratives.
In some communities, the reappearance of previously-eradicated diseases like measles, rubella, and even polio is directly and unquestionably attributable to anti-vaccine conspiracy theories, and many of these same conspiracy theory proponents have begun arguing against the COVID-19 vaccine. This is incredibly dangerous.
Protesters in the UK during the pandemic.
Vaccines don’t just work on an individual basis, they work en masse. The more people who get vaccinated, the less chance a disease can break out because human-to-human transmission becomes impossible. Vaccines are not 100% effective on a personal level; they don’t provide everyone with protection due to various factors. It’s therefore up to all of us to protect one another. Receiving the vaccine is about so much more than just protecting yourself – it’s a civic responsibility to protect everyone in society, including those with serious illnesses or compromised immune systems who cannot receive the vaccine for themselves.
This is what many anti-vaccine folks seem to miss – and indeed what many anti-mask or anti-lockdown folks have missed throughout the pandemic. So let’s be very clear: it isn’t just about you. The actions that we take at a moment like this have the potential to affect everyone in society, and the effectiveness of any vaccination programme relies on as many people as possible receiving their dose when it’s their turn.
The sooner we’re all vaccinated, the sooner life can return to normal.
I’m not the only one to have been vaccinated. My elderly parents both received their first doses a few weeks ago, and a number of other friends and relatives have had theirs too. Nobody I’m aware of suffered any ill effects, and I can say with confidence that the vaccine is safe. I know there’s a lack of trust in our governments, leaders, politicians, and even scientists, and part of the reason why conspiracy theories in a general sense have become accepted by some folks is because of that mistrust. I don’t know how to counter that in the long run, nor what the consequences may be.
All I can say today is that I went to my appointment. I took the jab. I got vaccinated. There were no ill effects, no complications. The vaccine is safe, and I’m not saying that because of the result of a scientific study or because a politician said so. That’s my own lived experience. I truly hope that when it’s your turn, you’ll get vaccinated too. Then we can put all of this nonsense behind us and get back to living our lives.
There are several different COVID-19 vaccines available, with more on the way. When you can expect to receive your dose will depend on where you live, how old you are, your general state of health, and other factors. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
This article was originally going to be titled “Can Season 4 reinvigorate Fall Guys” – but that was before the announcement that Epic Games had bought developer Mediatonic! However, many of the points I planned to make still apply in some form, and in addition we have the buyout and its associated effects to consider. So settle in as we talk about the hit party game of the summer – last summer, that is – Fall Guys: Ultimate Knockout!
A few days ago I put Fall Guys on my list of games that deserve a second look in Spring 2021, and despite some of the criticisms I have of the game, I stand by that. Fall Guys is plenty of fun, and the addition of new rounds and changes to existing rounds has extended the game’s longevity. I recently got back into playing after taking a break over the holidays, and I’ve been having fun with it all over again. There is a lot to love about Fall Guys, but there’s also no denying that right now, the game’s survival hangs in the balance.
Is Fall Guys going to survive, or did Epic Games waste their money?
This is nothing to do with the Epic Games acquisition. Fall Guys was struggling long before that was announced, and my original plan for writing this article was to look at the possibility of Season 4 bringing players back. That’s something Fall Guys needs to address urgently. They have a good social media team, being active on Twitter and elsewhere every day, churning out memes and one-liners of the sort that a modern social media manager for an online game should. But it doesn’t seem to be having much effect.
Fall Guys blew up when it was launched last August, but almost as quickly as it arrived on the gaming scene, most of its players abandoned it. On Steam, Fall Guys peaked at around 125,000 concurrent players in August last year, and sold over 2,000,000 copies within a few weeks of launch. But as of yesterday, when I checked its progress on Steam, it had fallen to fewer than 6,000 concurrent players, with a maximum for the day of fewer than 10,000, and was barely clinging on to the top 100 most-played games on the platform, occupying the 100th slot.
Fall Guys was the 100th-most played game on Steam at time of writing.
To put that into context, Fall Guys had fewer players than titles like Civilization V, The Sims 4, Skyrim, Star Wars: The Old Republic, and even a title I’d never heard of called Geometry Dash, which is a port of a mobile game that originally launched in 2013. Ouch.
As a player, this has become noticeable. Though most games I play are usually fully-populated (with 55-60 out of a maximum of 60 players) it can take several minutes of waiting just to begin a game, with long loading times in the queue as the game struggles to assemble enough players. With no cross-platform play between PC and PlayStation, this is obviously beginning to become an issue. One of the highlights of Fall Guys – something I praised it for back in August – is that because rounds are so short, losing or failing to qualify doesn’t feel so bad. All you had to do was jump immediately into the next one! But if you have to wait several minutes at a time to even just begin a game, one of the absolutely vital components of Fall Guys is lost, making it significantly less enjoyable. Not only are the waits themselves frustrating, but losing at a round risks becoming frustrating too – because you know if you don’t qualify it’ll take a while to start a new game.
So what caused Fall Guys to lose much of its playerbase? That’s the key point, because addressing it – if indeed that’s even possible – is the key challenge facing Mediatonic and Epic Games.
Jump Club, one of the better rounds.
As much as I hate to say this about a game I’ve come to greatly enjoy, the fundamental problem is that Fall Guys was a “release now, fix later” title. I’ve talked at length here on the website about the live service business model, and how the ubiquity of internet connections has led developers and publishers to push out games that weren’t quite ready with a view to improving them later. It almost never works, and Fall Guys, as much as I love the cute little title, is an example of that phenomenon too.
Firstly, Fall Guys launched with no anti-cheat software. I know that it’s scummy and pretty disgusting for a basement-dwelling low-life to cheat at a fun little game like this, but realistically, developers Mediatonic and original publisher Devolver Digital should have anticipated it. Cheating happens in any online game, and if you give players even the tiniest opportunity, some will cheat. Playing Fall Guys before the addition of anti-cheat was not fun, because what was the point in progressing through the rounds only to lose in the finale to an invincible cheater or a cheater who can simply fly above the course?
Cheating was a problem in Fall Guys on PC for a while.
The cheating problem pushed players away, just as I said it would when I discussed Fall Guys’ impending Season 2 update back in September. When I’ve spoken to people about the game or seen comments on social media, aside from the “dead game” memes the one thing that seems to come up most often is that people remember how Fall Guys had a cheating problem. Folks don’t know that’s been solved because most didn’t stick around, preferring to move on to games that weren’t plagued by cheating. The game should never have been released without anti-cheat software, and that’s perhaps its biggest mistake.
The rise of Among Us stole Fall Guys’ thunder in some ways, even though the two titles aren’t really comparable from a gameplay perspective. But there is a vague aesthetic similarity between the crewmates in Among Us and the jelly beans in Fall Guys, so it’s worth considering why Among Us is doing so well while Fall Guys appears to be in decline.
Among Us is one quarter the price of Fall Guys, at least on PC. On mobile or tablet, the game is free. Among Us is available everywhere, compared to Fall Guys which is currently only on PlayStation 4/5 and PC. Among Us has never had a cheating problem.
Among Us came from nowhere to overtake Fall Guys.
Both games had the potential to break into the mainstream and become ongoing successes, but only Among Us really has. The biggest factor in its favour is its ubiquity, particularly its availability on mobile devices and tablets, which are the platform of choice for many younger players. This enabled the game – which was originally released in 2018 – to become so popular. The fact that it’s free-to-play helps immensely too; younger gamers in particular are always on the lookout for free titles, which goes a long way to explaining the success of Epic Games’ mainstay: Fortnite.
When considering Fall Guys’ release, one huge factor preventing it growing was the natural ceiling on its playerbase caused by not being available on every platform. There was no Xbox or Switch release, and while those platforms are now scheduled for this summer, that’s a year too late. Without knowing more about the technical side of the game I can’t say for sure whether it would be possible to port it to mobile devices, but if that were possible then obviously that would open up the game still further.
Fall Guys is finally coming to Switch – but not till the summer.
Nintendo Switch is the platform I would have chosen to prioritise if I were in charge of Fall Guys’ development and release. PlayStation 4 has a larger install base, but Switch players are, I would suggest, more interested in this kind of fun pick-up-and-play party game on the whole. With over 60 million Nintendo Switch consoles having been sold, that’s a massive potential playerbase that Fall Guys missed at launch – and will continue to miss until this summer. By then it could be too late.
An online game that barely breaks 10,000 concurrent players is not doing well, and while that doesn’t account for PlayStation 4 players, it’s hard to imagine the game is doing significantly better on its only other platform. There are still people interested in Fall Guys, and there are still new players jumping on board, but the big challenge facing Epic Games and Mediatonic as they begin their partnership is shoring up the playerbase and bringing in as many new players as possible. Fall Guys was a hit last summer. Whether it can be a hit again is up to its new owners.
Season 4 is coming soon, promising new rounds and new cosmetics with a futuristic theme.
So what needs to happen to bring players back? The launch of Season 4, with new cosmetics and new rounds will be a good start. But there needs to be more of that, with the game basically being continuously updated. New rounds and new round variants are good, but there could also be timed events, such as the recent double-kudos offer, competitions focusing on one aspect of the game (like a fixed set of rounds, for example) and other such things that will incentivise players to keep coming back.
Animal Crossing: New Horizons is the polar opposite of Fall Guys in so many ways, but one thing New Horizons gets absolutely spot-on is the incentives it offers players to log in at least once per day. Fall Guys needs to find some kind of hook, some way to keep its players checking in often. Once they’ve sorted that – which is no small task – bringing in new players is priority #2.
Ski Fall, another of the rounds in the game.
Releasing the game on Switch and Xbox is a good start, but I’d love to see mobile devices too if at all possible. Then there absolutely needs to be cross-platform play. If Sony remains intransigent about this – as they often are – then cross-play could be between Xbox, Switch, and PC only. But it has to be in there somehow, because splitting up the already small playerbase into walled gardens by platform makes those wait times mentioned above more noticeable. If PC players could join PlayStation 4 players right now, today, I bet those wait times would be cut at least in half. And that in itself would make the experience more enjoyable, keeping existing players around for longer.
One thing that Mediatonic teased in their announcement of their deal with Epic Games was a possible free-to-play model. To me, this is a double-edged sword for a game like Fall Guys. While it would undoubtedly bring in more players, it would mean the game would have to find an alternative way of making money, and in the games industry that only means one thing: microtransactions.
Fortnite is a free-to-play game that makes all its money via microtransactions.
Fall Guys has always offered the ability to buy in-game currency, yet it’s never felt intrusive or obligatory. The game is very generous with in-game rewards and items earned through basic gameplay, and I would hate to see that disappear or for cosmetics to be locked behind a paywall in future. Part of the fun of Fall Guys has been earning cosmetic items through gameplay, or earning in-game currency through gameplay and trading that for cool items in the in-game store. Going free-to-play would mean all of that would change, and while it would unquestionably attract more players, I’m not sure the change would be a good one.
With all of the controversy that lootboxes and randomised rewards generate these days, I would hope that even Epic Games wouldn’t try to force them into Fall Guys, but that remains a risk. From a PC player’s perspective, I’m also concerned that Fall Guys may eventually be withdrawn from Steam – Epic Games has its own store and PC client, after all, so why would they leave Fall Guys on their competitor’s platform? This may seem extreme, but it’s exactly what happened to Rocket League. That game used to be available on Steam, but following an acquisition by Epic Games it was withdrawn. The game technically still exists on Steam for players who already owned it prior to its withdrawal, but an Epic Games account is required to play, and new players can’t add it to their Steam libraries. While Mediatonic promised in their statement that this isn’t part of the plan for Fall Guys, it’s hard to see that being sustainable if the game survives into the longer term. Sooner or later, Epic Games is going to want to monopolise its purchase, just as they do with other games that they own.
Time will tell if this was a good idea for Epic, Fall Guys, and the players.
Removing Fall Guys from Steam would run counter to everything we’ve discussed about trying to retain players and expand the playerbase, so the game may be safe in the short term. But watch this space, because it feels inevitable that Fall Guys’ presence on Steam is doomed!
So to answer my original question: can Epic Games reinvigorate Fall Guys? The short answer is “maybe.” The game is a huge amount of fun, and bringing it to the Switch in particular feels like a natural fit, one which should bring in new players who are well-suited to enjoy this kind of cute, fun little title. But the game’s longer-term prospects are murky at best, and I’m surprised that a company like Epic Games would take a risk on a game which appears to be in a serious decline. Hopefully their involvement can stop the rot and turn things around. Fall Guys is such a fun game that it deserves to last longer than a few measly months.
Fall Guys is available now on PC and PlayStation 4/5, with launches on Xbox and Nintendo Switch planned for this summer. Fall Guys is the copyright of Mediatonic, Devolver Digital, and Epic Games. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
This article discusses the Iraq War and the Second Battle of Fallujah and may be uncomfortable for some readers.
One of the bloodiest and most controversial battles of the Iraq War was the Second Battle of Fallujah, which took place in November 2004. The battle saw coalition forces – most of whom were American, but there were a number of Iraqi and British troops who took part as well – capture the city from al-Qaeda and other insurgent forces. The Iraq War is controversial and its history complicated, and I’m simplifying the events of the battle and the war to avoid making this article about a video game too long. Suffice to say that even now, eighteen years since the United States led a coalition to defeat Saddam Hussein, and more than sixteen years since the Battle of Fallujah, the events are controversial, disputed, and the consequences of military action are still being felt in Iraq, the wider Middle East, and indeed the whole world.
Six Days In Fallujah is a video game depicting the battle from the American side, and when it was initially in development in the late 2000s it became incredibly controversial in the United States, with politicians and Iraq War veterans’ groups expressing opposition and disgust. The idea of recreating for fun any aspect of one of the most divisive conflicts of the last few decades was considered obscene, and the idea of encouraging gamers to play through a battle that took place, at that time, a mere five years earlier was too much for many people to countenance.
After the controversy boiled over and saw media personalities and politicians get involved in 2009, Six Days In Fallujah disappeared, and by 2010 or 2011 the project was effectively shelved. The critics moved on, the developers moved on, and that appeared to be the end of the matter.
Last month, however, there came the announcement from a studio called Highwire Games – which is said to consist of developers who worked on games in the Halo and Destiny franchises at Bungie – that Six Days In Fallujah was back. The game is now scheduled for a late 2021 release date, and plans to retain the original focus that was the cause of such controversy a decade ago. Cue outrage from the expected sources.
What took me by surprise was not the strength of feeling expressed by some veterans of the battle, nor the criticism by largely self-serving politicians. That was to be expected, and the announcement of Six Days In Fallujah went out of its way to highlight how Highwire Games has worked with veterans in particular – clearly anticipating this kind of reaction and trying to pre-empt some of the criticism. Instead what genuinely surprised me was the reaction from some games industry insiders and commentators, who appear to be taking an equally aggressive stance in opposition to Six Days In Fallujah.
Politicians, particularly those to the right-of-centre, have long campaigned against video gaming as a hobby. Initially games were derided as being wastes of time or childish, but some time in the 1990s the tactic switched to accusing games of inspiring or encouraging violence; equating in-game actions with real-world events. Numerous studies have looked into this issue, by the way, and found it to be without merit. But we’re off-topic.
Advocates of video gaming as a hobby – in which category I must include myself, both as someone who used to work in the industry and as an independent media critic who frequently discusses gaming – have long tried to push back against this narrative and these attacks. “Video games can be art” is a frequently heard refrain from those of us who support the idea of interactive media having merit that extends beyond simple entertainment, and there are many games to which I would direct an opponent to see for themselves that games can be just as valid as works of cinema and literature.
To see folks I would consider allies in the fight for gaming in general to be taken more seriously calling out Six Days In Fallujah because of its controversial subject matter was disappointing. Art, particularly art that deals with controversial current and historical events, can be difficult and challenging for its audience – and it’s meant to be. A painting, photograph, novel, or film depicting something like war is sometimes going to challenge our preconceptions and ask us to consider different points of view. That’s what makes art of this kind worthwhile. It’s what makes everything from war photography to protest songs to the entire genre of war in cinema incredibly important.
Documentaries and news reports only cover events in one way. The way we as a society come to understand events is partly factual but also is, in part, informed by the art those events inspire. The First World War is covered very well in history textbooks and newsreels produced at the time, but another side of the conflict – a more intimate, personal side – is seen in the poetry of people like Siegfried Sassoon and Wilfred Owen. The poems that they wrote about their wartime experiences were not pure depictions of fact, they were written to both inform and entertain – and perhaps to inform through entertainment.
If we relegate the Iraq War to contemporary news broadcasts and documentaries by the likes of Michael Moore we will miss something important, and so will future generations who want to look back and understand what happened. There are many works of fiction and non-fiction which attempt to show the big picture of what happened in Iraq, from the lies about “weapons of mass destruction” through to the use of banned weapons. Those works absolutely need to exist. But in a way, so does Six Days In Fallujah. It aims to depict, in as realistic a manner as game engines in 2021 will allow, one of America’s most controversial battles of recent decades – an event which will be seen in future, perhaps, as one of the American military’s darkest hours of the entire 21st Century due to their alleged use of illegal white phosphorus.
Getting as many perspectives as possible across as broad an array of media as possible about such an important event seems worthwhile, at least to me. Six Days In Fallujah may ultimately turn out to depict the event poorly, or be a game plagued by technical issues. It might be flat-out crap. But it really does surprise me to hear serious commentators and critics suggest that it shouldn’t be made at all, perhaps because of their own biases and preconceptions about the war and the game’s possible depiction of it.
There is value in art, and if video games are to ever be taken seriously as artistic expression, we need to make sure we allow difficult and challenging works of art to exist in the medium. That doesn’t mean we support them or the messages they want to convey, but rather that we should wait and judge them on merit when they’ve been made. As I said, Six Days In Fallujah may be a dud; an easily-forgotten piece of fluff not worth the energy of all this controversy. But maybe it will be a significant work that aids our understanding of the history of this battle, and the entire Iraq War.
It feels odd, as someone who lived through the Iraq War and all its controversy, to be considering it as an historical event, especially considering its continued relevance. I actually attended a huge anti-war march in London that took place a few weeks before British forces joined the US-led coalition and attacked Iraq. But the beginning of the Iraq War is now almost two decades in the past, and even as the world struggles with the aftermath of those events, we need to create works like Six Days In Fallujah if we’re ever to come to terms with what happened and begin to understand it. We also need to consider future generations – are we leaving them enough information and enough art to understand the mistakes our leaders made in 2003? If we don’t leave that legacy, we risk a future George W. Bush or Tony Blair making the same kind of mistake. I don’t know if Six Days In Fallujah will even be relevant to the conversation, but it’s incredibly important that we find out.
Six Days In Fallujah is the copyright of Highwire Games and Victura. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: Though there are no major spoilers, minor spoilers may still be present for a few of the titles on this list.
Anthem is gone, Cyberpunk 2077 is still a stinking mess, and there are delays aplenty across the games industry as the pandemic rolls on. What’s a gamer to do? Well, I might have the answer for you! Tomorrow will be the first day of March, and to me March has always meant the beginning of Spring. There are small snowdrops beginning to bloom in my garden, and the nights are getting shorter. A few times this past week I’ve even managed without the heating on in my house – much to the dismay of the cats!
There are still plenty of great games that – all being well – will be released this year. If you missed it, I put together a list just after New Year of ten of the most interesting titles! But considering the delays and that this time of year is typically fairly quiet in terms of releases, I thought it would be a great moment to consider a few games that deserve a second look. I’ve limited the list to titles that are readily available to buy on current-gen platforms and PC, so no out-of-print games this time.
Without any further ado, let’s jump into the list, which is in no particular order.
Number 1:Mario Kart 8 Deluxe (Nintendo Switch, 2017)
Nintendo’s most recent karting game is a ton of fun. It’s the kind of arcade racer that has a very low bar for entry – anyone can pick up and play this fun title. But mastering Mario Kart 8 – especially if you choose to head online – is no small task, and there’s a surprising amount of skill involved to be truly competitive with the best players! I’ve adored the Mario Kart series since its inception on the SNES, and this version is the definitive Mario Kart experience… at least until they make Mario Kart 9!
Number 2: Fall Guys (PC and PlayStation 4, 2020, coming to Xbox and Nintendo Switch this summer)
Among Us gained a lot of attention not long after Fall Guys was released last summer and stole at least some of the cute game’s attention! The fact that Fall Guys isn’t on mobile probably counts against it as far as finding a broader audience goes, but despite what some have claimed, the game is by no means dead. Season 4 – which promises to bring a new set of futuristic rounds – is being released soon, and for less than £15 (at least on PC) I honestly can’t fault Fall Guys. It’s an adorable, wholly unique experience in which your cute little jelly bean character runs a series of obstacle courses in a video game homage to the likes of Total Wipeout. Each round lasts only a couple of minutes, and it really is way more fun than words can do justice to! I’ve recently got back into playing after taking a break, and there’s plenty of fun still to be had.
Number 3: The Elder Scrolls III: Morrowind (PC and Xbox, 2002)
You can find Morrowind on PC, and despite being an older title it’s compatible with Windows 10. There has been an active modding scene for almost twenty years at this point, so even if you’ve already played the base game it may still be worth going back for more. In my subjective opinion, Morrowind is the high-water mark of the Elder Scrolls series. It certainly offers players more to do than its predecessors or sequels – more NPCs to interact with, more factions to join, more types of weapons to wield and spells to cast, and so on. Especially if you hit Morrowind with some of the visual/graphics mods that are available, it can feel almost like a new game!
Number 4: Grand Theft Auto: Vice City (PC, PlayStation 2, and Xbox, 2002)
Another older title that you can find on PC, as well as on iOS and Android, Vice City was one of three Grand Theft Auto titles released between 2001 and 2005. Remember when Rockstar was able to put out more than one game per decade?! If you’ve had your fill of Grand Theft Auto V by now – and it’s been out for eight years, so I wouldn’t blame you if you were ready to play something else – maybe going back to one of the older games will be a nostalgic blast. Many fans of the series consider Vice City to be the best entry, and while I don’t think I’d go quite that far, I had a ton of fun with it back on the original Xbox.
Number 5: Banished (PC, 2014)
There are some great city-builders out there, but one of my favourites from the last few years is Banished. The game was built entirely by one person, which never fails to amaze me! It would still be a fantastic title if it had been made by a full studio, but the fact that the game and all its complex systems were programmed by a single developer is an astonishing achievement. Banished isn’t easy, even on lower difficulty settings, and it will take a little time to get into the swing of how to plan your town and manage your resources. But if you’re up for a challenge it’s a wonderful way to lose track of time!
Number 6: Skully (PC, PlayStation 4, Switch, and Xbox One, 2020)
Skully is a game that I’ve been meaning to write a proper review of since I picked it up last year, but it keeps slipping down my writing pile. From the moment I saw the trailer and heard the game’s premise – a 3D platformer in which you play as a disembodied skull – I was in love, and the game did not disappoint! The environments are beautiful and the game is plenty of fun. It manages to feel at points like an old-school 3D platformer of the Nintendo 64 era, and at others like a wholly modern experience. It’s also an indie title, and it’s great to be able to support indie developers wherever we can!
Number 7: Jade Empire (PC and Xbox, 2005)
If the demise of Anthem has got you missing the “golden age” of BioWare’s role-playing games, make sure you didn’t skip Jade Empire. The Xbox exclusive was overlooked by players in the mid-2000s, and while other BioWare games from that decade, like Knights of the Old Republic, Mass Effect, and Dragon Age Origins are all held in high esteem, the Chinese-inspired Jade Empire is all but forgotten. When Steam has it on sale you can pick up Jade Empire for less than the price of a coffee, and for that you’ll get what is honestly one of the best and most interesting role-playing games of all time.
Number 8: Star Trek: Starfleet Academy (PC, 1997)
Starfleet Academy is unique among Star Trek games because it features the cast of The Original Series in video clips recorded especially for the game. These aren’t scenes from films or episodes of the show; you literally will not see them anywhere else. Starfleet Academy is a starship simulator, and while its visuals obviously don’t look as good in 2021 when compared to other titles, the overall experience is fantastic. You won’t find another game quite like it – especially because ViacomCBS has all but given up on making Star Trek games since the release of Star Trek Online!
Number 9: Forza Horizon 4 (PC and Xbox One, 2018)
I signed up for Game Pass in order to be able to play racing game Forza Horizon 4 – and it was totally worth it! The Forza Horizon series attempts to find a middle ground between true racing sims and arcade-style titles, and generally manages to do so quite well. Forza Horizon 4 has a map which represents parts of Great Britain, and that’s something unusual! I didn’t see my house, but it’s always nice when a game uses a familiar setting. There are plenty of fun cars to race in, and different kinds of races too, including going off-road.
Number 10: Assassin’s Creed IV: Black Flag (Multiplatform, 2013)
Is it just me, or has every subsequent game in the Assassin’s Creed series struggled to hit the highs of Black Flag? Origins and Odyssey were decent, but even in 2021, I think that Black Flag is the definitive title in the franchise! There’s something about its pirate setting and the wonderful crop of NPCs that make Black Flag a truly enjoyable experience from start to finish. For a game that’s approaching its eighth birthday it still looks fantastic, too!
Number 11: The Last Of Us (PlayStation 3, 2013)
Despite its severely disappointing sequel, The Last Of Us is fantastic. If you’re looking for a game with amazing characters and a deep, engaging story, it simply can’t be bettered. I put The Last Of Us on my list of games of the decade as the 2010s drew to a close, and for good reason. Joel and Ellie’s trek across a hauntingly beautiful post-apocalyptic United States was absolutely one of the gaming highlights of the last few years. The characters are so well-crafted that they feel real, and every twist and turn in the intense storyline carries emotional weight. The game is being adapted for television, and I’m interested – cautiously so in the wake of The Last Of Us Part II – to see what will happen when it makes the leap to the small screen.
Number 12: Age of Empires: Definitive Edition (PC, 2018)
Though I know Age of Empires II is the title most folks prefer, I’ve always appreciated what the original Age of Empires did for the real-time strategy genre. If you’ve been enjoying the recent remake of the second game, it could be a great time to give the original a try as well. Age of Empires didn’t invent real-time strategy, but it was one of the first such titles I played after its 1998 release – and I sunk hours and hours into it in the late ’90s! There’s something about building up an army of Bronze Age warriors to smash an opponent’s town that’s just… satisfying!
Number 13: Star Wars Jedi: Fallen Order (PC, PlayStation 4, and Xbox One, 2019)
I played through Jedi: Fallen Order last summer and documented my time with the game here on the website. Suffice to say I had a blast; the linear, story-focused title is exactly what the Star Wars franchise needed after the Battlefront II debacle! Having just seen the dire Rise of Skywalker I was also longing for a Star Wars story that I could actually enjoy for a change, and Jedi: Fallen Order did not let me down! I had a great time swinging my lightsaber across a galaxy far, far away… and I think you will too.
Number 14: No Man’s Sky (PC, PlayStation 4, and Xbox One, 2016)
No Man’s Sky was incredibly controversial at launch. The pre-release hype bubble got wildly out of control, egged on by a marketing push that oversold the game. Remind you of any recent titles? But despite the backlash in 2016, Hello Games has since put in a lot of hard graft, and five years on No Man’s Sky genuinely lives up to its potential. Had it been released in this state I think it would have been hailed as one of the best games of the decade – if not of all time. I understand not wanting to reward a game that was dishonestly sold, and that the “release now, fix later” business model is not one we should support. But there’s no denying that No Man’s Sky is a great game in 2021, and if you haven’t picked it up since its 2016 launch, it could be worth a second look.
Number 15: Tony Hawk’s Pro Skater 1 + 2 (PC, PlayStation 4, and Xbox One, 2020)
A full remake of the definitive skateboarding game is hard to pass up! In the Dreamcast era, Tony Hawk’s Pro Skater launched an entire genre of skating games, and its amazing soundtrack is a nostalgic hit of late ’90s/early ’00s punk rock. The remade version, which you can pick up on Switch and the two new consoles later this year, is great fun, and has managed to do something rare for a remake: genuinely recapture the look and feel of the original title. Obviously the visuals are brought up-to-date, but the feel of the game and the way tricks are performed are fantastic. I was able to slip right back into playing as if I’d never put the Dreamcast controller down!
So that’s it. Fifteen games that I think are worth your time this Spring.
There are plenty of fun titles on the horizon, but some of the ones I was most looking forward to – like Kena: Bridge of Spirits – have recently been delayed, prompting me to look at my library and put together this list.
I hope this has inspired you to find something to play over the next few weeks! If not, stay tuned because there will be plenty more gaming-related articles here on the website. Happy gaming!
All titles listed above are the copyright of their respective studio, developer, and/or publisher. Some screenshots and promo artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are minor spoilers ahead for Star Trek: Discovery Season 3.
In addition to the first teaser image for Star Trek: Prodigy, a recent update from ViacomCBS (that was primarily directed at their investors) has given us a couple of interesting bits of news regarding both current and future Star Trek projects. Today I thought it would be worthwhile to take a look at what was said and try to figure out what may or may not be coming our way in 2021 and the first half of 2022.
The most significant piece of news was that ViacomCBS plans to have something from the Star Trek franchise on Paramount+ every quarter. Since it’s already almost March I think we can rule out anything in Q1 this year! But that still potentially leaves us with three Star Trek projects before the end of 2021.
The teaser image for Prodigy, in case you missed it!
I said just after New Year that I believed we’d see both Prodigy Season 1 and Lower Decks Season 2 this year, and those will almost certainly be two of the three. With Discovery Season 4 having been in production since November, I have to assume that will be the third series planned for this year – perhaps targeting a Q4 broadcast like Season 3 received in 2020. That’s ambitious in my opinion – post-production work on Discovery Season 3 took over nine months to complete – but if ViacomCBS and Paramount+ can manage it, it will be a fantastic achievement! And it will mean one extra Star Trek show in 2021 that I wasn’t expecting!
If that’s the plan, that would then open up Q1 and Q2 of 2022, and it seems certain that we’d get Picard Season 2 (which has just started filming) and Strange New Worlds Season 1 in the first half of next year – probably in that order. So this current quarter could be the longest we’ll have to go without any new Star Trek for quite some time!
Picard and his new crew are coming back soon.
What will happen after that is in question, and this is where the other interesting bit of news comes in: ViacomCBS has no plans to produce any other Star Trek shows until those currently in production have concluded.
This seems to mean that the Section 31 series, which originally had a premiere date suggested for this year, is going to be delayed yet further, and I interpret comments by some of its writers and producers to mean that the series going ahead at all is less certain now than ever. Strange New Worlds completely stole the Section 31 show’s thunder, both before and after it was announced, and as I said a while ago, I never really got the impression that there was much excitement for Section 31. Many Discovery fans were clamouring for a Pike series almost from the first episode of the show’s second season, but Georgiou and Section 31, while not badly received, were very much the lesser part of that story overall.
Anson Mount recently cropped up in his Starfleet uniform in the ad campaign for Paramount+.
Georgiou’s recent departure from Discovery has set the stage for Section 31 – but it also left things very open as to where (and when) she will end up. Perhaps behind the scenes what’s going on is some major retooling of the Section 31 show’s premise; it had been suggested by Alex Kurtzman and others fairly recently that the scripts were still being worked on, and this feels like another indication of changes to the upcoming series.
So this unfortunately raises the question of the Section 31 show’s ultimate fate. Is this the first step to it being cancelled… or “un-announced?” It feels like it could be, sadly. Despite not being as interested in Section 31 when it was announced, I’ve recently come around to the idea of this kind of spy thriller. If done well I think it could be something really fun and different within Star Trek, and with it having been announced I kind of want to see it come into being. Even if it only runs for a single season, or gets cut down to a miniseries or television movie I still think it could be worthwhile.
Michelle Yeoh is set to return as Mirror Georgiou in the Section 31 series some time soon.
The longer-term futures of other Star Trek projects are less clear. No future seasons of any in-production shows were announced – though it seems likely, according to the rumour mill, that we’ll see Discovery Season 5, and Picard Season 3 was said to be there for the taking if Sir Patrick Stewart wanted it. Beyond the halfway point of 2022, though, Star Trek’s future gets a little harder to predict. We could see Lower Decks Season 3, Prodigy Season 2, or perhaps a new set of Short Treks mini-episodes.
What is clear, though, is that Section 31, the potential Ceti Alpha V miniseries that I covered a few weeks ago, and the still-unannounced live-action series that is in pre-production won’t be coming imminently.
ViacomCBS has “plans” for expanding Star Trek beyond the projects that we know about, though, and there was talk of ideas and concepts being worked on behind the scenes. Paramount+ is being established with a view to a widespread international rollout, which will begin next month with the USA, Canada, and Australia, before heading to Scandinavia and Latin America later in the year. Hopefully it’ll come to the UK soon!
Paramount+ launches next week.
Other recently-announced projects for Paramount+ include a Halo television series, a prequel to Western drama Yellowstone, a reboot of Nickelodeon cartoon Rugrats, and more. CBS All Access has grown its subscriber base since it was launched, passing the 8 million mark last year. The relaunch of the service as Paramount+, with its promised live sport and varied mix of films and television shows will surely bring in a lot of viewers – keeping Star Trek on the air for a long time to come.
These announcements were interesting, and I feel reasonably confident now that we’ll see three Star Trek shows this year instead of the two I had been expecting, so that’s fantastic! And I cannot wait for both Season 2 of Picard and the debut of Strange New Worlds next year. It’s a wonderful time to be a Star Trek fan right now – we have literally never had so many different projects all on the go at once. Someone pinch me… I must be dreaming!
The Star Trek franchise – including all properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Yesterday ViacomCBS showed off the first piece of promotional artwork for the upcoming child-friendly series Star Trek: Prodigy. And it looks good… or at least, I think it does. I’m not completely sure!
Let’s take a closer look at the teaser image and try to break it down:
The first and most obvious thing to me is that none of the characters look like anything we’ve seen before in Star Trek. My first thought was that it looked rather Disney-esque due to the art style, so that was a positive. But then the more I looked at it I couldn’t get away from one word in particular: “generic.”
These characters don’t exhibit any Star Trek visual traits, and thus they feel like they could be part of any sci-fi universe. You could tell me these are characters from a Star Wars show, a show set in the world of Mass Effect, Avatar, Marvel or DC Comics… you get the picture. Nothing about it screams “Star Trek” to me, and as a result the characters feel very generic; fun and well-designed sci-fi characters for sure, and with a cute art style, but not necessarily from Star Trek. The only character who could possibly be from an established Star Trek race is the tall figure in the middle (third from the left). They could be from the same race as Jaylah – the character from Star Trek Beyond.
This character is giving me Jaylah vibes.
I suppose it’s possible that the large scaly or mineral-encrusted alien on the right is supposed to be something like a Horta (from The Original Series Season 1 episode Devil in the Dark). That feels like a stretch, though, as it would be a significant departure from the only previous depiction of a Horta.
We also have three other aliens of unknown races, including one second-right who appears to be comprised of some kind of liquid or gel. This blue alien is perhaps my favourite design, and one of the great things about animation is that it allows for more “alien-looking” aliens than live-action. That’s something we saw in Lower Decks as well. This character is cute, and perhaps because of the colour scheme I’m getting kind of a Moana vibe.
My favourite!
The far left seems to show a sentient robot, and this is the character who feels most like they’ve been imported from Star Wars! I’m also curious what kind of character a synth or robot could be in a show that’s supposedly primarily about kids – we’ve never really seen a child robot before. They look friendly, though, so that’s a plus!
Notable by her absence is Captain Janeway – the only named character we know of in Prodigy at this stage. I was surprised not to see her depicted in this first piece of promotional artwork given the big announcement made a few months ago that she was joining the series. Janeway is potentially one of Prodigy’s biggest draws – especially for long-time Trekkies – so giving her some kind of role in pre-release marketing would make a lot of sense.
Captain Janeway wasn’t part of this teaser image.
We didn’t get any character names to go with this image, so we don’t know who’s who or what roles they might end up playing on the series. I would guess that the tall figure in the centre is the leader of this gang of kids, and the apparel of the figure second-left suggests he could be an engineer of some kind. Those are just guesses, though, and I have no idea about the others!
What the release of this little teaser may mean is that Prodigy is well underway. The image was revealed at a promotional event for investors in the run-up to the launch of Paramount+ next week, and while it doesn’t seem like Prodigy will arrive on the day the service officially launches, all being well we’ll see it later this year.
Star Trek: Prodigy is coming to Paramount+.
I like the art style chosen for this project. 3D computer animation can look great, and these characters have a style that’s in line with other modern projects aimed at kids. Perhaps we can say it isn’t unique – as mentioned I think it feels rather generic for a Star Trek production – but there’s plenty of positives to take away from the visual style. I’ve already picked a favourite character – the blue liquid one! I’m a little disappointed that there wasn’t an obvious Star Trek race included, nor any other significant Star Trek elements in the image. There are no combadges, for example, nor phasers, tricorders, etc. So while the characters look great and the art style is cute and fun… I’m left feeling that something important is missing.
I know it’s a show for kids, but the best kids shows have something to offer adults too, and this is something ViacomCBS has been promising since this project was announced. I’m sure as we get to see more of these characters, learn who they are, and see the ship that they’re going to “commandeer” for their adventures that the elusive sense of “Star Trek-ness” will come into focus. Maybe it was too much to ask from a single teaser image!
A robot and an alien.
So this was an interesting first look – a glimpse, really – at Prodigy. The art style looks to be cute and fun, and while I wasn’t hit with a strong sense that the characters are part of the Star Trek franchise, and I’m curious as to why Janeway was left out, it was certainly interesting to see. From the point of view of producing a show for kids, I think there’s a lot for kids to get excited about with these characters. Though not necessarily “Star Trek,” the characters are visually interesting and would convert well to toys, dolls, and playsets. The diversity present in these designs should help each character establish a personality and on-screen presence, and that’s a positive thing.
Hopefully we’ll get to know more about these folks soon!
Star Trek: Prodigy is currently in production and will debut on Paramount+ in the United States and other territories where the service is available. Further international distribution has not yet been announced. Star Trek: Prodigy is the copyright of ViacomCBS and Nickelodeon. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
After months of speculation, Electronic Arts and BioWare finally confirmed what every gamer and games industry watcher has known for ages: Anthem is dead. Rather than spend even more money on this failure, EA have opted to cancel any remaining plans that they had in the pipeline in order to focus on other projects. And while it may be disappointing to Anthem’s five or six remaining loyal players, it’s unquestionably the right decision.
What was clearly the wrong decision, though, was releasing this mediocre title in the first place. And stepping back even further than Anthem’s troubled 2019 launch, we can argue that it was the wrong decision to push a studio like BioWare – renowned for their single-player role-playing games – to create a “live service” multiplayer action-shooter in the first place.
Anthem was developed by Canadian EA subsidiary BioWare.
Game developers and studios have to be allowed to innovate; without trying new things there would never be any progress in video game development, and that wouldn’t be a good thing. But when a studio has a proven track record at making a certain style of game, their publisher or the company who owns that studio pushing them to do something entirely outside that wheelhouse can lead to difficulties and problems.
The developers at BioWare simply did not have the multiplayer experience, the action-shooter experience, or the necessary knowledge of EA’s Frostbite game engine to put together an ambitious title like Anthem. And while senior BioWare managers may have felt, in 2012 when Anthem was first conceived, that they had a new and unique idea, the “live service” concept had been done and done again by the time the game finally stumbled out the door.
Anthem promo art.
Anthem was boring. It was an uninspired shooter whose every in-game system and mechanic had been done before by someone else – and done better. BioWare’s final saving grace when dealing with lacklustre gameplay was the studio’s ability to craft great stories and bring wonderful characters to life – but they failed at that too, and Anthem ended up offering little more than a decently pretty environment. That just isn’t good enough, and players quickly put down this disappointing experience, never to pick it up again.
When Anthem’s “roadmap” of additional content was scrapped in late 2019, that was it. No one who follows the games industry was seriously expecting EA and BioWare to successfully revive the game – and if anyone did, I’ve got a bridge to sell them! All this talk of “Anthem Next” was a cynical attempt by these companies to convince the few remaining Anthem players to stick around and keep spending money in the game with promises of more features and updates. I seriously doubt that EA ever intended to make good on the promise of an overhaul and update of the game; that was nothing more than meaningless empty words designed to exploit those few remaining fans.
A javelin seen in promo artwork.
After more than a year of living through the coronavirus pandemic I am sick to the back teeth of companies using it as an excuse for whatever the problem of the day is. In their curt blog post announcing the end of Anthem, BioWare attempted to shift the blame onto the pandemic, suggesting that it played a role in this decision. I call bullshit on that. This was a business decision, plain and simple, and it was one that was almost certainly taken a very long time ago.
The reality is that Anthem, like Mass Effect: Andromeda before it, was dead on arrival. The game has been kept on life support for two years, with players fed a steady diet of lies and promises that EA and BioWare had no plans to make good on. Such is the reality of a “release now, fix later” game. So much for being the “Bob Dylan of video games” – a statement so stupid, by the way, that I can scarcely believe anyone at BioWare actually said it.
Anthem was supposed to be the video game equivalent of Bob Dylan. Photo Credit: The White House from Washington, DC, Public domain, via Wikimedia Commons
Anthem needs to be a lesson, not just for BioWare and Electronic Arts but for the games industry in general. You can’t release a mediocre game and convince people to stick around in case it gets good later. “Release now, fix later” categorically does not work. The legacy of Anthem needs to be that better games are released in the wake of its failure.
If a game is not in a good enough state, it should be delayed and not forced into a release window to meet some arbitrary deadline. Big companies like Electronic Arts can absorb the costs of prolonging development if it means that the game will eventually launch to critical acclaim and commercial success. By forcing Anthem to be released when it was simply not ready, Electronic Arts snatched defeat from the jaws of victory and pissed away a huge amount of money.
Another piece of promotional artwork.
Anthem was never financially viable. No multiplayer game that loses 90% of its playerbase in a matter of weeks can possibly be sustainable, which is another reason why I’m convinced that all this talk of a “renewal” or update to Anthem was never serious on the part of EA and BioWare. The sad thing is that there was potential in Anthem. Had it been a project that was handled differently its flying “Iron Man” suits and brand-new sci-fi world could have gone on to be held up alongside franchises like Mass Effect or Halo. But a series of poor decisions across its development meant that wasn’t possible, and it seems unlikely at this stage that Anthem’s world will ever be revisited.
What this means for Anthem’s remaining players is that it’s over. It’s time to jump ship and not spend another penny on any in-game microtransactions. While BioWare have promised to keep the servers running for now, in reality it’s only a matter of time before they’re shut down and the game is gone forever. There are other, better games out there to play, so if you’re one of those few remaining players, have a look for something else to play instead.
A javelin underwater.
For BioWare this is a double-edged sword. On the one hand it potentially frees up a handful of developers to work on the next Dragon Age game, Mass Effect 4, and whatever else may be in the pipeline. On the other hand it confirms what we’ve all known for a while – the studio has released two failures in a row. Electronic Arts, rather like Google, has a reputation for shutting down unsuccessful studios and killing projects that aren’t bringing in enough money. There was already a lot of pressure on BioWare to get their next project right – and that pressure has just increased.
I don’t think we should celebrate the demise of Anthem – but I don’t lament it either. The game was a waste of potential, it damaged the reputation of a studio previously held in high esteem, and serves as yet another example of why this “release now, fix later” trend is such a mistake. Hopefully the lessons of Anthem will be learned so that better games will be made in future. That’s its only shot at a legacy.
Anthem is the copyright of Electronic Arts and BioWare. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for the Mass Effect trilogy.
With Mass Effect: Legendary Edition on the horizon I thought it could be fun to go back to the Mass Effect trilogy and look at Commander Shepard’s comrades. Though I have no immediate plans to buy Legendary Edition – it looks like a pretty unimpressive upgrade, in my opinion – its existence has nevertheless prompted me to look back at its three constituent games. There were some absolutely wonderful characters who were well-written in all three parts of the Mass Effect trilogy. Without these characters to interact with, the world of Mass Effect would feel smaller and far less immersive.
However, there were also a handful of major characters who were less interesting, bland, useless in combat, or who got too little screen time for us to really get to know them. So there’s plenty of ammunition to put them into an internet-friendly numbered list! I’m excluding the squadmates from Andromeda, because that game was less fun across the board, and I’m also excluding the two characters who were only playable for a short time during the Omega DLC for Mass Effect 3. Otherwise all characters from the first three games are here – including those who were only available as DLC when the games were new. Legendary Edition will have all of them, so I’m happy to feature them all here.
Legendary Edition is coming soon.
As I always say, these things are subjective. If you don’t agree with how I regard a certain character, that’s okay! One of the great things about games like the Mass Effect trilogy is that they allow for player choice and different ways to play. We don’t need to fight or argue over which character is best!
With that out of the way, let’s jump into the list!
Number 19: Zaeed Massani
Somebody has to be in last place, and unfortunately for me it’s Zaeed. There are a couple of reasons why that’s the case, but it boils down to him feeling like an afterthought for most of Mass Effect 2. He doesn’t have any especially interesting dialogue or banter, either with Shepard or with anyone else on the team. When you approach him in the cargo hold of the Normandy (where he spends his down time) the “conversations” you can trigger with him aren’t even full cut-scenes, they’re just lines of dialogue heard over the top of gameplay.
Zaeed’s loyalty mission was okay, but it almost always required players to take the renegade path in order to be sure of winning his loyalty. There is a possible way to get through it with a 100% paragon outcome, but the required conversation check is so high that I’ve never been able to manage it. This cuts into the short mission’s replay value and leaves it feeling pretty bland. Like everything else involving Zaeed, the loyalty mission feels like it was thrown together as an afterthought.
For a DLC character, Zaeed is not well-integrated into the main game. Other DLC characters and missions flow naturally into the games they’re part of, but Zaeed and his loyalty mission feel tacked-on. He had the potential to be a fun character; a gruff mercenary veteran who’s seen it all. But that potential feels rather wasted.
Number 18: Liara T’Soni
Sacrilegious though it may be to some Liara superfans, I’ve never really liked the Mass Effect trilogy’s main asari character. In Mass Effect 1 she was perhaps at her best, but even then managed to feel less interesting and less relevant to the mission at hand than other squadmates. But her strange turnaround in Mass Effect 2 from mild-mannered student of history to hard-nosed information dealer just felt out of place. And as much as I enjoyed the Lair of the Shadow Broker DLC from a gameplay perspective, making Liara the new Shadow Broker is something which again felt wrong for her character.
There’s such a disconnect between the Liara we get to know and the shady world of information broking that she inhabits beginning in Mass Effect 2, and while I admire the creative decision to try to do something consequential with a character who otherwise felt like unnecessary fluff, for me it didn’t work and actually made matters worse.
As a biotic squadmate, Liara was most useful in Mass Effect 1, where only Kaidan was also able to use some biotic powers. By the second two games, though, her biotics felt less impressive – especially having seen what Jack and Samara can do! I don’t hate Liara, but a combination of some odd character decisions and the existence of other, more interesting squadmates means she ranks pretty low down on my list.
Number 17: Grunt
If we’re talking about Grunt’s overall story, perhaps I could rank him higher on the list. His role in Mass Effect 3 was certainly more interesting, as he led a team of krogan warriors to hunt for the rachni. But looking at him purely as a squadmate in Mass Effect 2, which is his only appearance in that capacity, he’s just not the most interesting character.
His backstory is certainly different, and perhaps was a way for the writers to try to differentiate him from Wrex. But there’s no getting around the fact that, for me at least, Grunt never manages to step out of that shadow; he always feels like a generic stand-in for Wrex. That said, I enjoyed Grunt’s loyalty mission in Mass Effect 2, as battling against a giant worm-monster was a ton of fun!
Number 16: James Vega
I feel a little bad for James Vega, who was voiced by established actor Freddie Prinze Jr. Vega came late to the party, and I think part of the reason for the negative reaction some fans had to him in Mass Effect 3 is that they were hoping for the return of more characters from Mass Effect 2 instead of someone new.
Despite that, however, James Vega was okay. For new players picking up the series for the first time, his newness may have helped them find their footing in an established, ongoing story, and characters playing that kind of role do serve a purpose. The Citadel DLC fleshed James out more and gave him a bit more to do than the base game, which was certainly to his overall benefit, but despite that he still isn’t an especially memorable character.
Most other characters in the trilogy elicit some kind of reaction from me, even though it’s been probably five years or so since I last played the games. But James Vega really doesn’t. He’s just… there. A background character. And there’s nothing wrong with him at all, unlike those lower down this list he isn’t bad. He’s just… forgettable.
Number 15: Ashley Williams
I don’t particularly dislike Ashley – though I would usually choose Kaidan at that moment in Mass Effect 1 – and on my first playthrough as male Shepard I think I chose her for Shepard’s romance option. She’s fine as a character, but is a bit limited as a squadmate because she can’t really do much beyond shoot.
Most squadmates have some kind of truly useful ability beyond their weapons that can make a difference in combat. Late in Mass Effect 1 Ashley can unlock “First Aid,” which, as you might expect, allows her to heal Shepard. But this uses medi-gel, which is a consumable item that isn’t unlimited in supply, rendering a potentially-interesting ability far less useful. This skill is also gone if Ashley survives to Mass Effect 3, where she can just shoot and throw grenades. If you’re going up against a heavily-armoured boss she can be useful – but most of the time I’m looking for a squad with a broader range of talents.
That’s more to do with the way I play the games than a criticism of Ashley herself, I suppose!
Number 14: Miranda Lawson
Though I have nothing against Miranda, it really isn’t until Mass Effect 3 where her story truly pays off – and by then she’s no longer a squadmate. She fills an interesting story role in Mass Effect 2, overseeing Shepard’s mission on behalf of the Illusive Man and Cerberus, but because of both her station on the Normandy and her natural disposition, she and Shepard tend to keep one another at arm’s length – even after her loyalty mission to save her sister.
The loyalty mission is one of the better ones, I think, and Miranda is a multitalented squadmate, capable of using both tech and biotic powers. During the Suicide Mission, Miranda is one of the possible candidates to lead the second squad at the beginning of the assault on the Collector base (assuming she remains loyal) and thus she’s a versatile all-rounder as a squadmate.
Miranda is at her best in Mass Effect 3, though, and that game goes a long way to paying off her character arc – both with her family and with Shepard.
Number 13: Samara
I love Samara’s “Reave” ability, which can be unlocked after securing her loyalty. It’s one of the most powerful biotic powers in the entire game, and can be incredibly useful when on the back foot. Samara also has one of the more interesting loyalty missions in Mass Effect 2, one which is largely nonviolent. In an action-RPG that may seem odd, but these quieter, story-driven moments make the Mass Effect series what it is, at least in my opinion.
Samara also proves invaluable during the Suicide Mission, as one of only two biotics (the other being a fully-upgraded Jack) capable of safely escorting Shepard’s squad through a dangerous part of the base. The only reason I wouldn’t put her higher up the list is because she’s a character recruited well into the second half of Mass Effect 2, and thus has fewer options to join Shepard on missions.
Her story of chasing down her rebellious daughter, and then trying desperately to save her other daughters during the Reaper war, is one of the trilogy’s most interesting – and tragic.
Number 12: EDI
The Normandy’s AI is able to acquire a body and thus becomes a potential squadmate early into Mass Effect 3. EDI was already fun thanks to her dynamic with Joker, the Normandy’s pilot, but being able to take her on missions added an extra dimension to her – as did her dialogue during downtime on the Citadel.
As with Samara’s “Reave,” EDI’s “Defense Matrix” ability can be a lifesaver when the chips are down and you’re facing a difficult battle! The “best” possible ending to Mass Effect 3 sees the destruction of the Reapers – but along with them all other forms of artificial life. EDI almost certainly doesn’t survive in such a scenario, and that adds an extra level of complexity to the endgame given that players have spent two full games with her by that point.
Number 11: Jacob Taylor
Jacob is all business during his time on the Normandy, and I think some fans were put off by that in Mass Effect 2. Unlike other main squadmates, large parts of Jacob’s backstory are told not in the main trilogy but in Mass Effect Galaxy (a mobile game released in between the first and second titles) as well as in comic books. Perhaps that’s part of why he can feel a little barebones in the main game.
However, Jacob provides Mass Effect 2 with one of the best loyalty missions, tracking his father’s crashed starship to a remote planet. Not only is the setting beautiful and the wreck of the ship fun to explore, but the story of a man who kept the safe food for himself while allowing others to suffer is shocking. The Mass Effect series doesn’t shy away from grotesque characters like Jacob’s dad, and these kinds of characters give the story a dose of realism.
Jacob is also a proficient squadmate in his own right, and the “Incendiary Ammo” ability that he brings can be very useful in combat.
Number 10: Jack
We’re into the top ten now, and up first is Jack. The “psychotic biotic” has a truly satisfying character arc across Mass Effect 2 and Mass Effect 3, genuinely growing and taking on responsibilities after being a violent loner when Shepard first encounters her.
Jack’s backstory is one of the most tragic in the series, as she was experimented upon mercilessly for her powerful biotic abilities by Cerberus. She’s also headstrong and one of the few characters who doesn’t worship the ground Shepard walks on – slapping them and telling them they were an idiot for trusting Cerberus in Mass Effect 3.
During the Suicide Mission, Jack is the only other character besides Samara capable of putting up a powerful enough biotic barrier to safely escort Shepard and his team through a dangerous part of the base.
Number 9: Kasumi Goto
When it came to Zaeed, I mentioned that he felt entirely tacked-on and separate from the other characters in Mass Effect 2. Kasumi, despite being another DLC character, doesn’t feel that way at all – perhaps because her entire persona is constructed around being someone who works in the shadows.
Her loyalty mission is one which requires a fair amount of nonviolent stealth, and putting Shepard in a fancy suit at a high society party was fun to see! In combat she is one of the weaker squadmates – but her “Shadow Strike” ability, when fully upgraded, is unstoppable and incredibly powerful. Her appearance in Mass Effect 3 also potentially saves the hanar from a Reaper attack – and the hanar are one of my favourite Mass Effect races!
Number 8: Urdnot Wrex
Wrex is the first krogan squadmate Shepard can recruit, and after being playable for Mass Effect 1 also rejoins Shepard during the Citadel DLC. I adore Wrex – he’s plenty of fun and great in a fight. Wrex has so much more personality than Grunt, which makes sense as he’s much older. But that personality makes him a more complex and enjoyable character, and someone who can usually be relied upon for some fun banter with both Shepard and other members of the team.
Wrex’s big moment came during the mission to Virmire, where Shepard intended to destroy a cure for the genophage – a disease which sterilised most krogan. Despite being a rough-and-ready mercenary, Wrex genuinely cares about his tribe and his race, something which comes through in Mass Effect 2 and 3. The krogan are, in some ways, comparable to the Klingons, and there’s room in every sci-fi series for that kind of violent warrior race!
Number 7: Thane Krios
Despite being an assassin for hire, Thane is remarkably sweet. As he comes to the end of his life he’s clearly spent a lot of time thinking about some of the things he did wrong, and at the top of his list is patching up his relationship with his son – which ultimately becomes the focus of his loyalty mission in Mass Effect 2.
The loyalty mission is another one that involves a fair amount of sneaking around, and trying to successfully trail a target atop the Citadel’s catwalks can be confusing – and a tad frustrating at points. But it’s a unique experience in the game! As a sniper, Thane can be useful in combat, though his abilities are fairly run-of-the-mill and don’t help him stand out. His sacrifice in Mass Effect 3 packs a real emotional punch, and is one of the few major character deaths in the entire trilogy that can’t be avoided.
Number 6: Tali’Zorah
Tali is very cute. The first time I played through Mass Effect 2 as male Shepard she was my romance option of choice! She’s a competent fighter, and when she first joins the mission that may come as a bit of a surprise. The quarian storyline is one of the series’ most interesting, and as the main quarian character we get to know, Tali is front-and-centre in helping us understand their plight.
The quarians created a race of AI – the geth – to serve as their servants. But when the geth became fully sentient the quarians attempted to shut them down, resulting in the loss of their homeworld. Ever since, quarians like Tali have been looked down on and mistreated – an analogy for many different minority groups in modern times.
Tali is a squadmate in all three games, and her combat drone – an ability she gains beginning with Mass Effect 2 – is one of the most useful powers any squadmate can have, as it provides an extra target for enemies to shoot at as well as an additional semi-squadmate, able to perform limited attacks of its own for a short period.
Number 5: Kaidan Alenko
When it comes to Kaidan, comparisons with Ashley are inescapable! As mentioned above, she’s okay. A by-the-book soldier who’s good at shooting but not much else. Kaidan, in comparison, oozes personality, and the experiences he has with Shepard take an emotional toll on him. If allowed to survive across the trilogy, Kaidan’s character arc is one of my favourites to see play out.
Raphael Sbarge, who voices the character, had previously voiced Carth Onasi in an earlier BioWare game – Star Wars: Knights of the Old Republic. As I’d played that game at least four or five times before Mass Effect 1 that was odd for me at first, but Sbarge brings a raw emotional tone to the character of Kaidan that I quickly came to love.
In Mass Effect 3 Kaidan can be a romance option for male Shepard – one of only two same-sex romance options for male Shepard in the entire trilogy (both in Mass Effect 3, by the way). Kaidan’s vulnerability and the emotional portrayal won me over, but as a squadmate he’s a perfectly capable biotic with the usual biotic abilities.
Number 4: Mordin Solus
Mordin singing Gilbert and Sullivan – twice – has to be one of the most random things in the entire series! He’s a fun character, in some respects a somewhat stereotypical “mad scientist,” but as he proves on many occasions, he has heart. The complexity in his story comes from regretting his actions on repairing the genophage – the disease which prevents most krogan from having children.
Though he remains proud of his work from a technical point of view, he comes to see what he did as morally wrong, and would ultimately die putting it right – a death which can only be avoided under very specific (and rare) circumstances, meaning it’s an inevitability in most playthroughs. His death hits hard in Mass Effect 3, but he did what he believed to be right.
As a squadmate he’s surprisingly strong and good with a gun, which characters like this typically aren’t! He also has plenty of fun dialogue throughout Mass Effect 2, both with Shepard and others, and is another great character with real personality.
Number 3: Javik
It was an absolute crime to make Javik only accessible via paid DLC. The series’ first and only prothean character had a huge impact on Mass Effect 3, and it was patently obvious that the game and story were built with his presence in mind. He’s seamlessly integrated into the plot – which, coupled with the fact that he was launch-day DLC, seems to confirm that he was cut from the main game to be sold for more money.
Scummy business practices aside, Javik is awesome. He brings a totally different perspective to the Reaper war, and his very existence is proof that there are ways to defeat and outmanoeuvre what seems to be an unstoppable foe – something Shepard points out to him in a very moving moment on the Citadel.
Javik is a strong, decent fighter, and while his “Dark Channel” ability wasn’t unique (Shepard could also use it) it was very useful in a fight.
Number 2: Legion
I adore Legion. Having spent much of Mass Effect 1 and parts of Mass Effect 2 fighting the geth, Legion wanting to form an alliance could have felt like too much of a stretch – but the way it was written, and the performance by voice actor DC Douglas that brought Legion to life, were fantastic. Legion’s story of an internal geth conflict elevated the synthetic race from one-dimensional bad guys to something more complex, a theme that carried over to Mass Effect 3 where we’d learn more about their origin and goals.
Resolving the quarian-geth conflict is one of my absolute favourite moments in the entire series, and Legion plays a key role in it. Their death is the only other inevitable squadmate death in the series (along with Thane’s) and as such packs a serious emotional punch. Though we don’t usually get to spend as much time with Legion as I’d want (due to when they’re able to join the squad) he made an immediate and lasting impact on the story.
Legion is also a solid fighter, useful during the Suicide Mission, and both their shield and “AI Hacking” abilities can be incredibly useful.
Number 1: Garrus Vakarian
How could it possibly be anyone else at the top of this list?! Garrus is Commander Shepard’s BFF whether they’re male or female, and that relationship is one of the core storylines across the entire trilogy. Seeing Garrus and Shepard’s friendship play out across the games is what makes them worth playing, and even if all of the other squadmates and characters were boring one-dimensional cardboard cut-outs, Garrus alone would save the Mass Effect trilogy!
He has plenty of fun banter with both Shepard and everyone else on the various teams that come together across the three titles, and his storyline takes him from frustrated cop to anti-mercenary vigilante – learning from Shepard that sometimes you have to go around the rules! Almost every playthrough I would end up picking Garrus for the majority of missions, because he’s just such great fun.
It helps, of course, that Garrus is a competent fighter, able to use powerful weapons and with different ammo at his disposal. If you’re heading into a heavy firefight or about to stare down an imposing boss, Garrus should be at the top of the list for squadmates to join you.
So that’s it! We’ve put all of Commander Shepard’s squadmates in ranked order.
One good thing about the upcoming Legendary Edition is that all three games, plus all of their DLC, will be available in one place. I don’t think that alone justifies the price – especially if you own the games and DLC already – but having everything in one package is good, and means that there will be none of the nonsense of DLC-only characters and missions any more. I was lucky at the time the Mass Effect trilogy was out to be able to afford to pick up the DLC, but I know of people who missed out on some of these characters and missions because they only had the base game, and that’s awfully sad. I hope this practice of cutting content to sell later – or even on day one – goes away soon.
A scene from the Legendary Edition trailer.
Even the characters that I ranked at the lower end of this list have their moments and were generally well-written. There are very few characters across the Mass Effect trilogy that I felt were actually written badly or served no real purpose, even when considering NPCs who aren’t able to join the squad. Some are perhaps rather barebones, but all serve a purpose in the story and pad out the world of Mass Effect – making it feel real and immersive. In fact I’d say that Mass Effect is one of the best and most interesting sci-fi settings that I’ve had the opportunity to get to know, and while some aspects of it are certainly unoriginal it’s a well-constructed world populated with a diverse, fun set of characters.
I hope this was a bit of fun, and for me it was a chance to jump back into Mass Effect for the first time in a while. Though I’ve written on a couple of occasions about the impending Legendary Edition it’s been several years since I last played through the trilogy. Perhaps I’ll have to dust off my Xbox 360 and go around again.
Mass Effect: Legendary Edition will be released in May 2021 for Xbox One, PlayStation 4, and PC. The Mass Effect series – including all titles and characters listed above – is the copyright of Electronic Arts and BioWare. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1 and Star Trek: Discovery Season 3.
Just a short one today. It seems as though the long-delayed second season of Star Trek: Picard has officially entered production, with filming commencing in California. Raffi actress Michelle Hurd posted on social media that she was “back to work.”
Details of the season are otherwise hard to come by; ViacomCBS is keeping a tight lid on production. Partly that will be due to coronavirus-related concerns, but also to avoid leaks or spoilers. Sir Patrick Stewart has been back in California for a while, and from what he’s said has been raring to go! Stewart recently appeared during the ad campaign for Paramount+ – the new name for the rebranded CBS All Access, and the future home of Star Trek: Picard.
Aside from Stewart and Hurd, the Season 2 cast will comprise Isa Briones as Dahj, Santiago Cabrera as Chris Rios, Evan Evagora as Elnor, Alison Pill as Dr Jurati, and Jeri Ryan as Seven of Nine in a “special guest star” capacity. The only main character from Season 1 who isn’t returning (as far as we know, anyway) is Harry Treadaway’s Narek. I’m still hopeful, however, that Season 2 will somehow make note of Narek’s fate, as the Season 1 finale left things unclear.
Will we at least learn what happened to Narek?
The timeframe for Season 2’s production and release is still up in the air. If we use Season 1 as a baseline for comparison, we can expect filming to last approximately four months (Season 1 filmed from late April to the end of August 2019). However, it goes without saying that coronavirus-related safety protocols could delay things. Four months of filming would put the end of production somewhere in late June or early July, and again if we use Season 1 as a baseline, where post-production work took approximately four-and-a-half months, we could potentially see Season 2 being wrapped up and ready to go before Christmas.
However, Discovery’s third season took closer to nine months in post-production due to coronavirus and the teams all having to work from home, so I’d be surprised to see Picard Season 2 before next year. There’s also Discovery Season 4 to consider – it began filming back in November, so will likely conclude first. I’m not sure how much crossover there is of post-production staff between the two shows, but it stands to reason that if work on Discovery Season 4 is already underway, Picard Season 2 may have to wait longer.
Production on Discovery Season 4 has been underway for weeks.
So let’s assume, for now, that sometime in the first half of 2022 seems like a reasonable guesstimate for when we could see the season air! If we get any significant news regarding character crossovers, plot details, or a trailer, be sure to check back as I’ll almost certainly have something to say.
Speaking of character crossovers, have you heard the news that Thadiun Okona (from The Next Generation Season 2 episode The Outrageous Okona) may be appearing in Star Trek: Prodigy?! What an odd choice. But actor William O. Campbell confirmed on a recent podcast that he’s already been in the recording studio, so I guess we’ll see what he brings to the series when it arrives later this year! I had suggested Okona as a possible character for Picard Season 2 months ago, but I would never have guessed he’d crop up in Prodigy!
So that’s all I have to say, really. Picard Season 2 felt in danger for a while there, so I’m very glad indeed to hear that filming is underway. A few weeks ago I wrote up some preliminary predictions for what Season 2 may contain, so be sure not to miss that article if you’re interested in my pre-season musings!
Star Trek: Picard Season 1 is available to stream now on CBS All Access (soon to be rebranded as Paramount+) in the United States, and on Amazon Prime Video in the United Kingdom and elsewhere. The Star Trek franchise – including Picard and all other properties mentioned above – remains the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Voyager and Star Trek: Discovery.
If you’ve been around the Star Trek fan community for a while, you might’ve heard some fans complaining about the “problem” of the USS Voyager’s use of shuttlecraft and torpedoes in Star Trek: Voyager. Perhaps this particular point of criticism was more biting in the late 1990s when Voyager was still on the air, but in some corners of the community it’s still talked about.
In short, fans have argued that, because Voyager was trapped in the Delta Quadrant and thus unable to be resupplied by Starfleet, they should have run out of torpedoes and shuttles. The number of shuttlecraft and torpedoes depicted in the series fluctuates, and some episodes focus on the need to conserve or seek out supplies, while in others, Captain Janeway and the crew seem to use these limited resources with abandon. Some fans have tried to calculate how many torpedoes and shuttles were used across all seven seasons of Voyager’s run – presenting it as a “gotcha” moment when those numbers seem larger than they should be.
Did Voyager fire too many torpedoes?
There are two ways to approach this, in my opinion. The first is to use an argument that I generally dislike: “it’s just a story.” I’ve written about this before, but one of the most important things when creating an ongoing story – especially one that has to fit into an existing franchise – is internal consistency. If it was established that the USS Voyager has, for example, four shuttles, and then a future episode arbitrarily changes that, then the show is not being internally consistent – i.e. consistent with itself. That, to me, has the potential to be immersion-breaking.
In some cases, “it’s just a story” is a perfectly valid excuse. In comedies like The Simpsons, for example, pretty basic things like which character’s bedroom is behind which door can change depending on which episode you’re watching – and on what the writers need it to be for the sake of a punchline or story. And in shows which have a floating timeline and are inherently un-serious, that isn’t really an issue. But other stories – those that want to be taken more seriously – do have to hold themselves to a higher standard, and thus the “it’s just a story” excuse generally doesn’t work in Star Trek to excuse inconsistencies and mistakes – at least in my opinion.
One of the torpedo tubes of the USS Enterprise-A in Star Trek VI: The Undiscovered Country.
On a basic level it is of course true that many inconsistencies and “goofs” within Star Trek are there because the writers either deliberately chose to go in a specific direction or to ignore a previously-established fact in order to make a particular storyline work. That can be said to be an explanation for what happened – but not an excuse!
The second way to approach the issue of shuttles and torpedoes in Voyager is to use the franchise’s own internal canon, and particularly established facts from within Voyager itself. A simple count of the number of torpedoes shown on screen or the number of shuttlecraft mentioned early in the show’s run is only one part of a bigger picture, and there are ways that we can interpret other canonical events within the series or within Star Trek as a whole to explain what appear, on the surface, to be inconsistencies.
One of Voyager’s torpedoes was beamed aboard a Borg vessel in the episode Dark Frontier.
There are two big points to consider when discussing Voyager’s shuttlecraft and torpedo complements, and how they could be replenished from an in-universe point of view. The first is trading and harvesting. On a number of occasions, Voyager depicted the crew visiting planets and moons to gather resources – everything from food to metals. And on a number of other occasions, the crew were able to make trades with Delta Quadrant factions in order to acquire resources that they were short of.
Weapons were only ever mentioned in the context of trading when Captain Janeway refused to sell Voyager’s weaponry to other races, but just because we didn’t see on screen the crew of Voyager bartering for someone else’s weapons – or more likely, weapon components and materials – doesn’t mean that it didn’t happen. Trading to acquire weapons or components wouldn’t contradict Janeway’s orders and adherence to Federation values. If the crew were able to get the basic parts needed to make more torpedoes, then there’s no reason why those parts couldn’t be used. Nothing I know of within Star Trek suggests that torpedoes can only be manufactured at specific facilities, or that they’re even especially difficult to build or modify.
Captain Janeway and her crew traded with many different cultures and factions during Voyager’s seven years in the Delta Quadrant.
What is a torpedo made of? We’ve actually seen torpedoes up close on a few occasions within Star Trek, and we have a reasonably good idea as to how they work. A torpedo uses antimatter as its main explosive element, creating a matter-antimatter explosion when detonated. There are also references to plasma and ion radiation, and in addition the torpedo casing and other internal components are made from metal – perhaps the same kind of tritanium as used in the construction of starship hulls.
The main component that the crew of Voyager would need to get, as far as I can see, is the right kind of antimatter to be used in the warhead. Every other aspect of the torpedo should be fairly easy to come by – or to manufacture, which we’ll look at in a moment. Antimatter is not naturally occurring, so the crew would probably need to trade for it, unless it could be scavenged from wrecked or abandoned ships.
Spock and Dr McCoy perform “surgery” on a torpedo in Star Trek VI: The Undiscovered Country.
Shuttles are obviously less easy to trade for, but in the episode Alice we see this exact thing happen. Paris falls in love with a shuttlecraft he sees at a junkyard and convinces Chakotay to trade for it, acquiring a new shuttle for Voyager. In that episode it would backfire, of course, but the principle remains!
As above, it would be possible to trade for and harvest components and materials necessary to repair or build shuttles. The basic metals needed for the hull would be perhaps the most important, as well as components necessary for systems like warp drive, but I can see no reason why it should be impossible for the crew to get enough components and material together to replace a lost or damaged shuttlecraft.
Neelix, Kim, and Chakotay on an away mission to collect resources.
So now we come to the second major way that the Voyager crew could resupply themselves: replicating and/or manufacturing their own torpedoes and shuttles. To me, the single biggest piece of evidence in favour of this argument is the creation of not one but two Delta Flyers. The ship had the capability to replicate large components and the crew had the necessary engineering expertise to build a spaceworthy craft from scratch. It stands to reason that, contained within Voyager’s databanks, are the designs and schematics for both torpedoes and shuttles.
Voyager was designed for long-range tactical and exploration missions, meaning that the possibility of the ship operating outside of Federation space and far from the nearest Starbase had to be taken into consideration when it was built. Logically that would include the ability to be self-sufficient for long periods of time, being able to repair and build components on the fly. It doesn’t mean Voyager’s resources are unlimited – but it does mean that the ship clearly has the ability to build new components and presumably a stockpile of raw materials for doing so.
The Delta Flyer under construction. This alone proves that Voyager and the crew had the capability to manufacture and/or replicate practically anything.
Augmenting that supply is something we see the crew engage in numerous times, chasing down sources of energy, antimatter, food, metal, and so on. While food and power are arguably the most urgent and immediate concerns, ensuring that they have enough components and raw materials to repair the ship, build replacement parts, etc. are all important too. How many times did we see Voyager undergo repairs or suffer damage that wasn’t present in the next episode? The ship clearly has the capability to build replacement parts – and there’s no reason why that can’t apply to torpedoes and shuttles too.
Something we learned in Star Trek: Discovery could be relevant here too, and while it’s certainly up for debate I think it’s worth mentioning as part of this conversation. In the third season episode There Is A Tide, Admiral Vance – the head of Starfleet – told us a little more about the way replicators work. The replicators at Federation HQ in the 32nd Century used a base of matter that was repurposed into new configurations. In the case of Federation HQ, bodily waste was repurposed into food – presumably with other matter thrown in there too! But the principle that you could feed any old matter into a replicator and use the technology to repurpose it seems to be how replicators (and earlier synthesisers) work in Star Trek.
Admiral Vance eating a replicated apple in There Is A Tide. This episode gave us a little tidbit of information about replicators and how they work.
This is also, at a very basic level, how warp nacelles work. The Bussard collectors on the front of a starship’s warp nacelles collect particles of hydrogen and deuterium while the ship is in flight, using the collected molecules as a way to augment the ship’s fuel supply. Insert one kind of matter, transform it into fuel, and use that fuel to fly.
The specifics of exactly how these technologies work is deliberately kept somewhat vague, but replication and collecting resources seem to me to offer an in-universe explanation as to how the crew of Voyager could replenish their supplies of expendable items like torpedoes, as well as replace destroyed shuttlecraft and even make complete repairs to the ship.
One of Voyager’s shuttlecraft.
When you combine what we see on screen just within Voyager itself – the many times the crew are scavenging and harvesting resources from planets and nebulae, all the times they traded with Delta Quadrant factions, the ship’s replicators, the ability to build the Delta Flyer twice – I think we can reasonably say that it adds up. Voyager had the ability to produce new torpedoes, repair damage to its hull and systems, and even build new shuttlecraft. There is no plot hole!
I understand why some fans feel that this is a problem. Some episodes do seem to contradict some of what I’ve said, and especially in the early part of the show’s run, the supply of torpedoes in particular was mentioned more than once. Captain Janeway did once say that there was “no way” to replace the ship’s 40-odd torpedoes – but given everything we know about replicators and the crew’s ingenuity, perhaps that was either a misunderstanding on her part or something that the crew were able to overcome at a later time.
Voyager firing tricobalt devices at the Caretaker’s Array in Caretaker.
The ship started out with 40 torpedoes (and a few tricobalt explosive devices). But by the end of the series almost 150 torpedoes had been fired – at least, according to the sources I can find online! There were also at least eight shuttlecraft used on the show across its seven-year run. The only way to make this internally consistent is using some combination of trading, harvesting resources, and building/replicating replacement parts. Given that we see Voyager is capable of this when building the Delta Flyer, I don’t see it as a plot hole.
So that’s my solution to this longstanding “problem.” The crew were very resourceful, willing and able to make trades with different factions, to think outside the box when it came to how best to use what they had to make it home. The ship itself is powerful, designed for long missions, and kitted out for exactly these kinds of issues. Though it may not have been shown on screen outright, it seems like the best fit based on everything we know is simply that the crew figured out a way to build more torpedoes, shuttles, and repair kits at some point relatively early into their journey home.
Problem solved. Right?
Star Trek: Voyager ran from 1995-2001 and is available to stream in its entirety on CBS All Access (soon to be rebranded as Paramount+) in the United States, and on Netflix and/or Amazon Prime Video in the UK and elsewhere. The series is also available on DVD. The Star Trek franchise – including Star Trek: Voyager and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for the Star Wars franchise – including recent projects such as The Rise of Skywalker and The Mandalorian. There are also minor spoilers for the Star Trek franchise too.
Let’s step through the looking-glass, across the divide between universes, into a strange new world. This world is very much like our own, but with one major difference: Star Trek behaved like Star Wars. The Original Series ran from 1966 to 1969, just as it did in our reality, but then… things started to change.
Join me on a weird and wonderful journey through what Star Trek might have been… if it had acted like Star Wars. Don’t worry, I promise we’ll make it home safe and sound.
Are you ready to go through the looking-glass?
We begin our journey in the 1970s. Star Trek is being rebroadcast in syndication, and its fanbase is growing. Some of these fans begin to organise and ask for more Star Trek on their screens, and the company that owns Star Trek in this alternate reality – let’s call them CiacomVBS – thinks long and hard about what to do. They have a popular series on their hands… what should they do with it?
Eventually the people in charge of Star Trek hit upon a brilliant idea: a Star Trek prequel, looking at Kirk, Spock, McCoy, and other familiar characters in their Starfleet Academy days and before their five-year mission. The main roles were re-cast, and the first new Star Trek project in almost twenty years was finally greenlit in 1988. Called the “Kelvin films” for the involvement of a starship called the USS Kelvin, this prequel trilogy was popular with some Trekkies, but wildly disliked by others. When the third film finished its theatrical run, CiacomVBS decided to shelve Star Trek and proclaimed that the franchise was complete.
Fans were split on Star Trek by this point. Some proclaimed that The Original Series was the only good part, whereas other (primarily younger) fans were thrilled with the Kelvin films. As time passed, Star Trek appeared to be complete. Its stars moved on to other projects, or faded into obscurity. But the fanbase remained, and with the passage of time those younger fans grew up, leading to a minor resurgence in the popularity of the Kelvin films.
In the 1990s, a massive media empire called the Dalt Wisney Company approached CiacomVBS about a buyout. When the multi-billion dollar deal went through, Wisney announced a plan to bring Star Trek back – this time for a sequel. Star Trek: The Next Generation premiered a few years later, and starred a younger cast of characters – alongside the return of The Original Series’ crew. Their first adventure was to find Captain Kirk, who had gone missing.
Kirk eventually agreed to train the new crew of Starfleet officers, along with help from Spock, Dr McCoy, Scotty, Uhura, Chekov, and Sulu. The returning characters took up a lot of the new show’s screen time, leaving many Trekkies to say that the new crew were undeveloped and underused. To make matters worse, a lack of overall direction by the Dalt Wisney Company meant that each of the three seasons of The Next Generation was helmed by a totally different team of writers. The consequence of this was a jarring change in tone between each of the three seasons.
The Next Generation’s third and final season was its worst by far, with a confused mess of a story that seemed to be trying to overwrite much of what happened in Season 2 – including the backstory of Captain Picard, the major character introduced in Season 1. By far its most egregious fault, though, was bringing back Khan as a villain – Khan had been killed off decades earlier, and his return was called “the worst kind of deus ex machina” by critics.
There were also two “standalone” projects produced during this time. The first saw a team of renegade Starfleet officers go on a secret mission to steal the plans to the Klingon D7 battle cruiser, and ended with them transmitting the plans to Kirk aboard the Enterprise. The second was titled Chekov: A Star Trek Story, and it told the tale of the young Pavel Chekov before he joined Starfleet.
Despite the lacklustre response to The Next Generation and Chekov, Wisney had invested a lot of money into Star Trek, and putting their expensive acquisition on hiatus was not possible. They announced another spin-off: Deep Space Nine. This promised to finally take a look at the Star Trek galaxy away from Captain Kirk and Starfleet for the first time, being set on a space station in a new region that had never been seen before.
Fans seemed to respond well to Deep Space Nine at first, but its short runtime, bland main character, and overreliance on the aesthetic of The Original Series were all points of criticism of the show. By Season 2 it seemed to be doing better and was beginning to stand on its own two feet – but for some inexplicable reason Season 2 of Deep Space Nine brought back the character of Sulu – who had been killed off in The Next Generation. Fans were confused as to how he had survived being eaten by an alien monster, but this was never addressed.
The Season 2 finale was perhaps the most egregious example of Wisney forcing fan-service into Deep Space Nine, though. As Sisko and his crew were cornered, staring down a seemingly-unstoppable villain, the shuttlecraft Galileo was spotted approaching DS9. The shuttle door opened, and there, in all his glory, stood Captain Kirk. Kirk dispatched the villain’s henchmen with ease, and gave Sisko – and the show’s stunned audience – a nod and a wink.
In the aftermath of Deep Space Nine Season 2, the Dalt Wisney Company put together a presentation where they announced what’s coming next for Star Trek – and to no one’s surprise, it was more of the same. Nostalgia, throwbacks, and not much else.
The actor who played Scotty in the Kelvin series was given his own spin-off. Next was Star Trek: Nurse Chapel, which promised a look at the franchise’s second-most famous medical officer. Then there was The Harry Mudd Show, looking at lovable rogue Harry Mudd, and Star Trek: Balok, which promised a deep dive into the backstory of the character fans first met in The Corbomite Maneuver. There was a miniseries looking at Kor, the Klingon captain, and finally there was Star Trek: That Guy Who Flew The Shuttle In That One Episode – which was immediately given a three-season order. Some fans were thrilled with these offerings… but a lone voice spoke out.
On a website called Dennising with Trek, an independent critic wrote that it was time for Star Trek to move on. The Original Series had become a weight around the neck of the franchise, holding it back and stopping it from properly moving on to new adventures. The Star Trek galaxy offered such an interesting and exciting setting, they wrote, that it was positively criminal to only look at such a tiny sliver of it over and over and over again. Star Trek can be better than this.
Apparently this website is incredibly popular in the alternate reality.
So that, my friends, is where we end our journey through this strange mirror universe. We step back across the divide, and find ourselves firmly back in our own reality. I promised I’d get you home safe and sound!
What was the point of our little interdimensional sojurn? As I’ve said many times already, Star Wars is stuck. It has never been able to move beyond its original trilogy, and it’s gotten to a point where those films are now holding it back from making any meaningful progress.
You might look at some of the Star Trek projects that exist in the alternate reality we visited and say that they sound like fun – but they represent an incredibly narrow vision of what Star Trek could be. If Star Trek had behaved like Star Wars, with a total and unshakable reliance on The Original Series and its characters, we’d never have got to see some absolutely incredible characters and stories. We’d have missed out on Picard’s transformation into Locutus of Borg in The Best of Both Worlds, or on Sisko’s painful decision in In The Pale Moonlight. We’d never have met Captain Janeway and her crew at all, nor Captain Archer and his.
Avery Brooks put in one of his best performances as Sisko in the Season 6 episode In The Pale Moonlight.
There is a place for prequels, for looking back, and for nostalgia. The very reason franchises like Star Trek and Star Wars were revived is because the companies behind them see nostalgia as a way to attract audiences. But in my opinion – my subjective opinion – Star Wars goes too far and overplays the nostalgia card. The Star Wars galaxy is a sandbox of almost infinite proportions, with not only trillions of inhabitants, countless alien races, and millions of planets to explore, but also tens of thousands of years of history. We could look at events and characters that are entirely disconnected from Luke, Han, and Leia – but Star Wars has never even tried to do that.
The Mandalorian brought back Boba Fett and Luke Skywalker in what was pure fan-service. Fans lapped it up, and I’m happy for the people who enjoyed the way that story went. But for my money I think Star Wars can do better. I think it can be broader and deeper, and can step away from relying on those old characters. Star Wars is a fantastic franchise, and its setting is so vast and interesting that it doesn’t need the crutch of those old characters… but for some reason Disney can’t see it.
Luke Skywalker returned in The Mandalorian.
Star Trek moved away from its original incarnation decades ago, and in the years since we’ve had a heck of a lot of exciting, memorable shows and films that have become iconic parts of the franchise in their own right. And that innovation and willingness to try new things continues today, with Star Trek recently branching out into animated comedy and with a kids’ show on the horizon. Star Wars could do that too.
Star Trek realised a long time ago that the galaxy Gene Roddenberry and others had created was crying out to be explored. New characters and new ships came along and have had some incredible adventures. Star Wars hasn’t been brave enough to try anything genuinely different yet. I hope one day that will change.
Some names, titles, and properties above have been used in a satirical manner for the sake of parody and criticism. The Star Wars franchise and all related properties are the copyright of the Walt Disney Company and LucasFilm. The Star Trek franchise and all related properties are the copyright of ViacomCBS. Stock photos courtesy of Unsplash. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.