I'm an independent media critic. On my website - trekkingwithdennis.com - I write about Star Trek, Star Wars, the video games industry, and many other geekdom-related topics!
In 2001 I was bitterly disappointed by the failure of the Dreamcast – a console I’d only owned for about a year and had hoped would carry me through to the next generation of home consoles. For a variety of reasons that essentially boil down to mismanagement, worse-than-expected sales, and some pretty tough competition, Sega found itself on the verge of bankruptcy. The company responded not only by ending development on the Dreamcast, but by closing its hardware division altogether.
At the time, Sega seemed to be at the pinnacle of the games industry. For much of the 1990s, the company had been a dominant force in home video game consoles alongside Nintendo, and as the new millennium approached there were few outward signs of that changing. It was a massive shock to see Sega collapse in such spectacular fashion in 2001, not only to me but to millions of players and games industry watchers around the world.
The Sega Dreamcast failed in 2001.
Thinking about what happened from a business perspective, a demise like this was inevitable in the early 2000s. Both Sony and Microsoft were arriving in the home console market with powerful machines offering features like the ability to play DVDs – something that the Dreamcast couldn’t do – but at a fundamental level the market was simply overcrowded. There just wasn’t room for four competing home consoles. At least one was destined for the chopping block – and unfortunately for Sega, it was their machine that wouldn’t survive.
But the rapid demise of the Dreamcast wasn’t the end of Sega – not by a long shot. The company switched its focus from making hardware to simply making games, and over the next few years re-established itself with a new identity as a developer and publisher. In the twenty years since the Dreamcast failed, Sega has published a number of successful titles, snapped up several successful development studios – such as Creative Assembly, Relic Entertainment, and Amplitude Studios – and has even teamed up with old rival Nintendo on a number of occasions!
The end of the Dreamcast was not the end of Sega.
I can’t properly express how profoundly odd it was to first see Super Mario and Sega’s mascot Sonic the Hedgehog together in the same game! The old rivalry from the ’90s would’ve made something like that impossible – yet it became possible because Sega recognised its limitations and changed its way of doing business. The board abandoned a longstanding business model because it was leading the company to ruin, and even though it does feel strange to see fan-favourite Sega characters crop up on the Nintendo Switch or even in PlayStation games, Sega’s willingness to change quite literally saved the company.
From a creative point of view, Sega’s move away from hardware opened up the company to many new possibilities. The company has been able to broaden its horizons, publishing different games on different systems, no longer bound to a single piece of hardware. Strategy games have been published for PC, party games on the Nintendo Wii and Switch, and a whole range of other titles on Xbox, PlayStation, handheld consoles, and even mobile. The company has been involved in the creation of a far broader range of titles than it ever had been before.
Sega’s mascot Sonic now regularly appears alongside old foe Super Mario.
So how does all of this relate to streaming?
We’re very much in the grip of the “streaming wars” right now. Big platforms like Netflix, Amazon Prime Video, and Disney+ are battling for subscribers’ cash, but there’s a whole second tier of streaming platforms fighting amongst themselves for a chance to break into the upper echelons of the market. The likes of HBO Max, Paramount+, Apple TV+, Peacock, BritBox, and even YouTube Premium are all engaged in this scrap.
But the streaming market in 2021 is very much like the video game console market was in 2001: overcrowded. Not all of these second-tier platforms will survive – indeed, it’s possible that none of them will. Many of the companies who own and manage these lower-level streaming platforms are unwilling to share too many details about them, but we can make some reasonable estimates based on what data is available, and it isn’t good news. Some of these streaming platforms have simply never been profitable, and their owners are being propped up by other sources of income, pumping money into a loss-making streaming platform in the hopes that it’ll become profitable at some nebulous future date.
There are a lot of streaming platforms in 2021.
To continue the analogy, the likes of Paramount+ are modern-day Dreamcasts in a market where Netflix, Amazon, and Disney+ are already the Nintendo, Xbox, and PlayStation. Breaking into the top tier of the streaming market realistically means one of the big three needs to be dethroned, and while that isn’t impossible, it doesn’t seem likely in the short-to-medium term at least.
Why did streaming appeal to viewers in the first place? That question is fundamental to understanding why launching a new platform is so incredibly difficult, and it’s one that too many corporate executives seem not to have considered. They make the incredibly basic mistake of assuming that streaming is a question of convenience; that folks wanted to watch shows on their own schedule rather than at a set time on a set channel. That isn’t what attracted most people to streaming.
Too many corporate leaders fundamentally misunderstand streaming.
Convenience has been available to viewers since the late 1970s. Betamax and VHS allowed folks to record television programmes and watch them later more than forty years ago, as well as to purchase films and even whole seasons of television shows to watch “on demand.” DVD box sets kicked this into a higher gear in the early-mid 2000s. Speaking for myself, I owned a number of episodes of Star Trek: The Next Generation on VHS in the 1990s, and later bought the entire series on DVD. I had more than enough DVDs by the mid-2000s that I’d never need to sign up for any streaming platform ever – I could watch a DVD every day of the year and never run out of different things to watch!
To get back on topic, what attracted people to streaming was the low cost. A cable or satellite subscription is easily four or five times the price of Netflix, so cutting the cord and going digital was a new way for many people to save money in the early 2010s. As more broadcasters and film studios began licensing their content to Netflix, the value of the deal got better and better, and the value of cable or satellite seemed ever worse in comparison.
Streaming isn’t about convenience – that’s been available for decades. (Pictured: a 1975 Sony Betamax cabinet)
But in 2021, in order to watch even just a handful of the most popular television shows, people are once again being forced to spend cable or satellite-scale money. Just sticking to sci-fi and fantasy, three of the biggest shows in recent years have been The Mandalorian, The Expanse, and The Witcher. To watch all three shows, folks would need to sign up for three different streaming platforms – which would cost a total of £25.97 per month in the UK; approximately $36 in the United States.
The overabundance of streaming platforms is actually eroding the streaming platform model, making it unaffordable for far too many people. We have a great recent example of this: the mess last week which embroiled Star Trek: Discovery. When ViacomCBS cancelled their contract with Netflix, Discovery’s fourth season was to be unavailable outside of North America. Star Trek fans revolted, promising to boycott Paramount+ if and when the streaming platform arrived in their region. The damage done by the Discovery Season 4 debacle pushed many viewers back into the waiting arms of the only real competitor and the biggest danger to all streaming platforms: piracy.
Calls to boycott Paramount+ abounded in the wake of the Star Trek: Discovery Season 4 mess.
The streaming market does not exist in a vacuum, with platforms jostling for position solely against one another. It exists in a much bigger digital environment, one which includes piracy. It’s incredibly easy to either stream or download any television episode or any film, even with incredibly limited technological know-how, and that has always represented a major threat to the viability of streaming platforms. Though there are ethical concerns, such as the need for artists and creators to get paid for their creations, that isn’t the issue. You can shout at me until you’re blue in the face that people shouldn’t pirate a film or television show – and in the vast majority of cases I’ll agree wholeheartedly. The issue isn’t that people should or shouldn’t engage in piracy – the issue is that people are engaged in piracy, and there really isn’t a practical or viable method of stopping them – at least, no such method has been invented thus far.
As more and more streaming platforms try to make a go of it in an already-overcrowded market, more and more viewers are drifting back to piracy. 2020 was a bit of an outlier in some respects due to lockdowns, but it was also the biggest year on record for film and television piracy. 2021 may well eclipse 2020’s stats and prove to have been bigger still.
The overcrowded streaming market makes piracy look ever more appealing to many viewers.
Part of the driving force is that people are simply unwilling to sign up to a streaming platform to watch one or two shows. One of the original appeals of a service like Netflix was that there was a huge range of content all in one place – whether you wanted a documentary, an Oscar-winning film, or an obscure television show from the 1980s, Netflix had you covered. Now, more and more companies are pulling their content and trying to build their own platforms around that content – and many viewers either can’t or won’t pay for it.
Some companies are trying to push streaming platforms that aren’t commercially viable and will never be commercially viable. Those companies need to take a look at Sega and the Dreamcast, and instead of trying to chase the Netflix model ten years too late and with far too little original content, follow the Sega model instead. Drop the hardware and focus on the software – or in this case, drop the platform and focus on making shows.
Some streaming platforms will not survive – and their corporate owners would be well-advised to realise that sooner rather than later.
The Star Trek franchise offers an interesting example of how this can work. Star Trek: Discovery was originally available on Netflix outside of the United States. But Star Trek: Picard and Star Trek: Lower Decks went to Amazon Prime Video instead – showing how this model of creating a television show and selling it either to the highest bidder or to whichever platform seems like the best fit for the genre can and does work.
Moves like this feel inevitable for several of these second-tier streaming platforms. There’s a hard ceiling on the amount of money folks are willing to spend, so unless streaming platforms can find a way to cut costs and become more competitively priced, the only possible outcome by the end of the “streaming wars” will be the permanent closure of several of these platforms. Companies running these platforms should consider other options, because blindly chasing the streaming model will lead to financial ruin. Sega had the foresight in 2001 to jump out of an overcrowded market and abandon a failing business model. In the two decades since the company has refocused its efforts and found renewed success. This represents a great model for streaming platforms to follow.
All films, television series, and video games mentioned above are the copyright of their respective owner, studio, developer, broadcaster, publisher, distributor, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
This isn’t my end of year article summing up some of the highs and lows of 2021. It irks me no end to see people writing those pieces long before Christmas! If you’ve been a regular reader for a while, you might recall that the 30th of November is the website’s anniversary – it has been two years to the day since I published my first article at the end of November 2019. How time flies, eh?
Last year I commemorated the occasion by writing about the website’s first year in operation, and this time I wanted to do something similar. I’ve had two full years of talking about Star Trek and other entertainment subjects now, and it’s always helpful to step back and take a moment to reflect.
It’s been an interesting twelve months!
The biggest change for the website itself came just a few weeks ago. At the beginning of November I changed the name to Trekking with Dennis, ditching the old name and establishing a new identity for the website. This is something I’d been thinking about a lot for several months, and finally being able to pull the trigger and get it done has been incredibly cathartic.
The website’s name changed a few weeks ago.
There have been some immediate repercussions for the name change, though. Traffic to the website took a nose-dive in November, significantly down on where it had been for much of the rest of the year. I’m putting two and two together and assuming that the change in name, branding, and most importantly the website’s URL is responsible for the drop in readership. I’m optimistic that in the longer term, however, that decline will be reversed. Even if not, I don’t write here because it’s my job or because I’m chasing “internet points” and high numbers of clicks! This is my hobby, I do it for fun, and I’d still do it even if readership dropped to absolute zero!
Conversely, twice in the past year I’ve had articles go “viral” – or at least as close to viral as I’m ever likely to get!
The first article was one I’d written in early December, listing Five things to watch at New Year (instead of fireworks). The list is fairly self-explanatory; I put together a handful of New Year-themed films and shows that could’ve made for entertaining New Year’s Eve viewing in lieu of the usual fireworks shows and parties – many of which are usually televised but which were cancelled in 2020. This list was responsible for a massive spike in views which began on the 30th of December, then ran all the way through the 31st and into the early hours of the 1st of January.
This post got a lot of attention around New Year, which was neat to see.
The second article began getting huge numbers of clicks in late May, then in June absolutely rocketed up to become the most-read post I’ve ever written. More people read that one article than read everything I wrote in all of 2020 combined. And I think it’s possible that many of them came away disappointed!
The article in question was titled Mass Effect: Legendary Edition – What’s the best ending? and it was an examination of the three-and-a-half endings to Mass Effect 3, looking at the pros and cons of each. However, I think that the title may have been unintentionally misleading, judging by the search engine traffic! I think folks may have come upon the article while looking for a guide to achieving the “best” outcome to Mass Effect: Legendary Edition – namely the version of the “destroy” ending in which Shepard is implied to have survived. I talk about this in the article, but it isn’t what the focus of the piece was.
This article has become the most-read ever!
I didn’t expect that article to get so many hits when I wrote it. My Mass Effect commentary in general did quite well, though, and I think that’s because I managed to get out several pieces about the series around the time of Legendary Edition’s launch – which is when there was significant interest in the games. Being timely brings rewards, it seems!
This year I’ve made significant improvements to the images used across the website. Some of the images used even as recently as March or April now feel incredibly amateurish and low-quality in comparison. I’ve been doing more with paint.net – a freeware image editor that has become my go-to for any and all image work – and I’ve learned how to do things like add a shadow or outline to text. That has allowed me to make huge improvements to the header images/banners at the top of articles, giving them a more modern, professional look.
The website’s main banner – a core part of the site’s identity – has also been massively improved. Firstly, now that I have significantly more web storage I’ve felt more comfortable using higher-resolution images. Beginning earlier in the year the expanded storage allowed me to use larger, more detailed images for article and page headers, something I feel makes the website as a whole look a lot more modern and professional than it did even at the beginning of the year. The new banner was added earlier this month as part of the aforementioned change of name, but earlier in the year I tried out a variety of different banners with different sci-fi and fantasy-themed backgrounds.
The website’s main banner.
I’ve also added quite a few different “spoiler warning” images – most of which are based on the Star Trek franchise! Again, the quality of these has improved a lot as I’ve become more comfortable with my image editing software, and I think some of the recent spoiler warnings look pretty great! I like to err on the side of caution when it comes to spoilers, so I use spoiler warnings a lot at the beginning of articles and reviews.
Filling time over the past twelve months has led me to research and learn about shows, films, and games I’d never have heard of otherwise. I reviewed titles like Space Jam: A New Legacy, Zack Snyder’s Justice League, and even The Falcon and the Winter Soldier after learning about them in the course of researching topics for the website. Trekking with Dennis has, to a certain extent anyway, broadened my experiences of media this year.
I’ve seen (and reviewed) several different films and television shows over the past twelve months.
I’ve also finally got around to playing a couple of games that had been on my ever-growing list: Control and Red Dead Redemption II. I’ve written up my first impressions of Red Dead Redemption II already, and in the days ahead I’ll hopefully be writing up my final thoughts as I’m close to finishing my playthrough of the game.
Speaking of playthroughs, I didn’t get around to doing another complete “Let’s Play” series of articles. Though I’ve had a number of ideas for games I could choose, I just haven’t committed to one nor kicked off a playthrough in the way I did with Jedi: Fallen Order last year. It’s still an idea that I’d like to revisit in future, so… watch this space, I guess.
I’ve been playing Red Dead Redemption II – but I didn’t write up the whole experience.
During the website’s first year in operation, I’d post articles and columns somewhat haphazardly. Sometimes I’d post daily for a couple of weeks, and at other points I’d take almost an entire week off while writing nothing. Over the last twelve months, however, that has changed. Going back to November 2020 I’ve been posting at least every other day – so there hasn’t been a long gap in between posts in more than a year. Occasionally that schedule has felt challenging, but I’ve been proud of the fact that I haven’t had any significant posting gaps for an entire twelve-month period.
April saw my most intensive posting schedule to date, as I wrote a post every single day for an entire calendar month for the first time. It wasn’t exactly planned, but once I got about halfway into April and I noticed I hadn’t skipped a day, I made it my mission to complete the month! I can keep up that kind of schedule for a while, but not indefinitely. I need occasional breaks, and being able to write articles in advance and schedule them has meant I have actually been able to take breaks across the year without interrupting my posting streak.
In April I published an article every single day.
In December 2020 I joined Twitter. I did so at first because I was having a hard time keeping track of the various franchises and their social media pages, and as I’ve never had a personal Twitter account I couldn’t follow them that way. In February I made a very tentative first post, and across the year I’d sent out a handful of Tweets to promote newly-published reviews and other articles. But as I said last year, social media isn’t really my major focus.
This should absolutely be the subject of a longer essay sometime, but Twitter in particular is a very difficult platform for me to navigate. I’m sure you’ve noticed, but I have a particularly long-winded writing style! Condensing an argument, article, or even just a fan theory into 280 characters or fewer is difficult for me. I also find that, partly as a consequence of the abbreviated posts, the conversation on Twitter can lack nuance. It’s very hard to articulate a complex thought or position on the platform because such short posts don’t easily allow for shades of grey – you can either be on one side of a debate or the other. For someone who occasionally likes to straddle the fence and acknowledge the merits and demerits of both sides of a discussion, or just to explore different interpretations and points of view, Twitter isn’t the best place for me sometimes!
That being said, I’ve recently stepped up my Twitter use. It’s been an interesting world to step into for the first time, and I’ve found it quite fun and occasionally exciting to be able to engage directly with brands and companies – or at least their social media teams. Toward the end of my time working with a large video games company, social media was just beginning to take off as a marketing tool. I had some involvement with social media campaigns in the late 2000s and early 2010s at companies I worked for or was freelancing for, so it’s been interesting in a way to be on the other side of the screen for the first time!
If you don’t follow me on Twitter I don’t just post links to articles and columns that I write here on the website. I do post other occasional Tweets, mostly about Star Trek and the other subjects I cover. I don’t get political, so don’t expect any of that, but if you want to follow me on Twitter you’re more than welcome to do so.
Feel free to follow me on Twitter: @TrekkingwDennis is my Twitter handle.
But Twitter wasn’t the only social media platform that I found myself involved with over the past twelve months. Beginning in July I planned to record audio versions of some of the articles here on the website, using YouTube and Spotify to host these audio files. I later expanded my audio offerings to include what might generously be called a “podcast.” However, I wasn’t very happy with the quality of both the audio recordings themselves, as I lack the technical know-how to make decent-sounding audio, and also, to be blunt, my own vocal performance. Upon re-listening to several audio versions of articles I sounded very wooden and stilted; the kind of performances I’d give 1/10 to if I were to rate them.
So after a sum total of four podcast episodes and about ten audio articles I scrapped the project – at least for the time being. It’s a fun idea, and a concept I’d certainly like to revisit one day, but between the audio quality, my own poor performance, and the rebranding of the website making all of the audio clips and YouTube videos out of date, I think it’s for the best that I shelve the project for now.
Audio recording isn’t my strong suit.
That being said, I did enjoy the podcasting format. Having the opportunity to talk about smaller news stories and topics that wouldn’t necessarily make for a good standalone article was fun, and it certainly broadened the range of things I discuss here on the website. Revisiting the podcast concept is something I might consider in 2022.
I haven’t added as many articles to the Greatest Hits page this year as I did in the previous twelve months. I think that’s partly because I had some article/essay ideas in mind when I started the website and I slowly worked my way through them over the course of that first year. While I’ve had plenty to write about this year, I guess I’ve just written fewer of those long-form essays.
This is one of the best essays I’ve written in the last twelve months. Give it a read if you haven’t already!
So I think that’s enough self-congratulation for this year! As I look ahead to the next twelve months, I can’t really say that I have any major plans or changes in mind for the website or the kind of pieces I write here. I’d like to do another playthrough series at some point, and I’m certainly open to more creative projects in addition to my reviews, theories, discussion topics, list articles, and the rest. But watch this space, I suppose!
The website is very different now compared to twelve months ago. I like to think that, for the most part, these changes have been improvements – and certainly from a purely visual point of view I think the website has never looked better! As we move into the holiday season and 2022 I’m looking forward to keeping up with my regular posting schedule and writing about the subjects I’m most interested in: Star Trek, gaming, and the wide world of geeky entertainment.
Thank you for your support over the past twelve months.
-Dennis Tuesday, 30th November 2021
All properties mentioned above are the copyright of their respective broadcaster, studio, developer, distributor, company, etc. 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 1-4, Star Trek: Picard Season 1, and for other iterations of the Star Trek franchise.
Now that all of the international broadcasting nonsense is out of the way, let’s get back into my weekly Discovery theory updates! We only missed one week, and there’s still a ton of speculating to be done about the story of Season 4, the gravitational anomaly, and what might become of some of our favourite characters.
If you’re new to my weekly theory updates for Discovery Season 4, here’s how the format works: after every episode I go back to my theory list. I cross off theories that have been debunked, celebrate any that appear to have been confirmed, update any that have seen progression, and add any new theories that the most recent episode has spawned. There will be some theories that, for whatever reason, the most recent episode didn’t advance in any way, so those will simply be restated to keep the list up-to-date and in one place!
I wrote up all of my pre-season theories into one list a couple of weeks ago, so this time we’ve already got two confirmations to take a look at before we jump into the main list.
Confirmed theory #1: The Spore Drive will be rolled out to more ships.
Book in Discovery’s Spore Drive cube.
Finally! After the revelation in the Season 3 finale that Book – and potentially anyone else with similar empathic abilities – could control the Spore Drive, the last hurdle in the way of it being rolled out to other Starfleet ships had been surmounted. It finally feels like Discovery is on the cusp of finding another use for what had been one of the most controversial technologies introduced in the series.
In Kobayashi Maru this was almost treated as a throwaway line, so I wouldn’t blame you if you missed it, but President Rillak confirmed that a “next-generation” Spore Drive is being developed by Starfleet as part of the Federation’s plans to rebuild and expand. It wasn’t stated on screen, but I wonder if the USS Voyager-J might be fitted with a Spore Drive as part of its retrofit; the vessel was in spacedock, after all.
The USS Discovery makes a Spore Drive jump.
I’d been hoping that the series would go down this road for a while. Moving forward in time to the 32nd Century means there are no “canon purist” arguments in favour of abandoning the Spore Drive, keeping it a secret, or ensuring that only the USS Discovery could use it. And the events of the Season 3 finale seemed deliberately designed to create an easy way to expand the Spore Drive to more ships – perhaps even paving the way for future Star Trek productions in this era.
We don’t yet know what the implications will be of Kwejian’s destruction on Starfleet’s plans. It was implied in the Season 3 finale that anyone with empathic abilities could use the Spore Drive, not only Kwejian natives, so the loss of Kwejian and most of its population shouldn’t mean that the Spore Drive expansion has to be abandoned. It might be possible for Betazoids, Deltans, or even Vulcans to train to become Spore Drive navigators.
Confirmed theory #2: A new character joined the main cast.
A new name has been spotted in the opening credits!
Following the departures of Nhan and Georgiou, it felt like there was definitely scope to either promote a recurring character to the main cast or create at least one new one! We’ve met President Rillak, who seems like she’ll become a recurring character, but the one who’s been promoted to join the main cast is Blu del Barrio’s character of Adira.
Adira makes a great addition to Discovery’s main cast of characters, occupying a similar role to Tilly in Season 1 in particular. As Tilly has undergone significant character growth across the show’s first three seasons, there was scope to bring someone brand-new aboard the ship, and having that person be someone young and eager is a positive thing. Adira is not only involved in their own storyline with Gray and Dr Culber, but also as a scientist can work with Stamets, Tilly, Saru, and Captain Burnham. I think Adira has the potential to be a versatile character in whatever stories lie ahead.
My original version of this theory centred around the question of Captain Burnham’s first officer. Now that we know that role has gone to Saru, it seems as though the main and recurring characters for this season are set.
So those theories were confirmed. Now we’ll take a look at some new theories and a few updated theories.
Theory #1: President Rillak knows what the anomaly is… and may be responsible for its creation.
President Rillak in Kobayashi Maru.
This ties into a broader point that we’ll be considering from several angles: the possibility that the gravitational anomaly is not a natural phenomenon. If the anomaly is artificial in nature, the question of who is responsible for its creation crops up. It could be a weapon deployed by another faction, of course, but it could also be a Federation creation – perhaps a weapon designed to defend against the Borg, a rogue experiment to try and prevent a second Burn, or something else entirely.
If that’s the case, President Rillak almost certainly knows more about the anomaly than she’s willing to say right now. Perhaps she’s hoping that it won’t be what she fears it is, or perhaps she’s trying to cover her own back – Captain Burnham did go out of her way to describe her as a “politician,” after all.
Does President Rillak know more about the anomaly than she’s saying?
President Rillak is a character with depth, not simply an “evil admiral” character trope. But it wouldn’t be the first time that Discovery has presented us with a fairly hard-line character in a position of authority who turns out to be concealing a dark secret.
As the head of the Federation, President Rillak is committed to doing whatever it takes to preserve the organisation. The anomaly may have been part of those plans… somehow. If she isn’t responsible for its creation directly, she may still know what it is if a past Federation President signed off on its creation. She may be covering up that secret on behalf of the Federation.
Theory #2: Captain Burnham and/or the Red Angel time travel suits from Season 2 are connected to the anomaly.
Captain Burnham.
Though we did see some moves away from Discovery’s laser-focus on Michael Burnham in Season 3, the show has put her front-and-centre in all of its main storylines so far. Season 2’s Red Angel storyline was connected to Burnham in a major way, and I wonder if Burnham might similarly have some kind of connection to the anomaly that she’s currently unaware of.
Perhaps the Red Angel suit, which Burnham sent back in time in the Season 3 premiere, malfunctioned somehow, and its powerful wormhole-creating technology gave rise to the gravitational anomaly. If the Red Angel suit completed its journey back to the 23rd Century, the anomaly may have had centuries to grow and expand unchecked.
This was the last we saw of the Red Angel suit back at the beginning of Season 3.
I’m not sure that this one is particularly likely, but as I said last year about a possible Burnham connection to the Burn, not only does Discovery kind of have a precedent for telling this kind of story, but there would also be something very dramatic about this revelation. In this case, Burnham would be indirectly and unknowingly responsible for creating something devastatingly damaging. How would she react to that, and how would Book react given what’s just happened to Kwejian?
If time travel is involved, perhaps a future Captain Burnham or a parallel universe Captain Burnham could be responsible for the anomaly’s creation – either intentionally or not.
Theory #3: Gray’s transfer to a new body won’t be simple.
A holographic representation of Gray’s synthetic body.
I adored the scene with Gray, Adira, and Dr Culber in Anomaly. As someone who’s struggled to come to terms with my own gender identity and my gender expression, it was so deeply relatable to see Gray “customising” his new body. But also included in that scene was a line from Dr Culber about how the “Soong method” used to transfer consciousness into a synthetic form has a very low success rate.
I suspect that line was included as a kind of pre-emptive plot hole plug that will have nothing to do with Gray! If the Soong method was said to work every time, then it would be very difficult to kill off any Star Trek characters from the 25th Century onwards, because fans would rightly ask “why didn’t they transfer to a synth body?” So I suspect that’s why the line was included.
Admiral Picard had his consciousness transferred to a synthetic body in the finale of Picard Season 1.
However, it felt a little ominous for poor Gray. It was great to see that Adira, Dr Culber, and others had been working hard to help Gray become seen again after the events of Season 3, and I have no doubt that somehow we’ll see Gray in a physical body before the season is over. But we’re only two episodes in at time of writing – will it really happen so quickly, and so seemingly simply?
I’m not convinced of that yet! There are many things that could go wrong, delay the transfer, or prevent it entirely. And there are an unlimited number of technobabble explanations for finding a new way to give Gray a body! So let’s see what happens – but I wonder if this storyline might have a few twists and turns along the way.
Theory #4: Book will find Kyheem and Leto inside the gravitational anomaly.
Book with Leto and Kyheem shortly before the destruction of Kwejian.
In Star Trek: Generations, Captain Picard encountered Captain Kirk inside the Nexus – despite Kirk being declared “dead” after the Enterprise-B encountered the energy ribbon. We don’t know what the gravitational anomaly is yet; one of my very early pre-season theories involved the Nexus, but that seems to be debunked already! However, the anomaly’s mysterious nature raises the faint possibility that at least some of those it appears to have “killed” may not be as dead as they first appear.
This theory is, I freely admit, a bit of a long-shot. And it hinges on a fundamental question underlying the story of the season: is there more to the gravitational anomaly than meets the eye? If the anomaly is just an extreme example of space weather, flitting through Federation space destroying anything unfortunate enough to be in its way, then probably everyone on Kwejian is dead. But if the anomaly harbours some kind of gateway, wormhole, portal, time vortex, or any of the other Star Trek-y technobabble phenomena that we’ve seen across the franchise’s history, then it’s possible that at least some of the folks on Kwejian found themselves transported to whatever realm lies inside of the anomaly.
Theory #5: The anomaly is a sentient life-form.
Could the anomaly be similar to V’Ger?
“It was only trying to communicate!” has become a Star Trek cliché, often used to describe how the seemingly-aggressive actions of an alien life-form are actually something innocuous. Perhaps the same is true of the gravitational anomaly: at its core is a life form, perhaps one not dissimilar to the Sphere seen in Season 2, and it’s on its own mission of exploration.
V’Ger from The Motion Picture is an interesting comparison. Like the gravitational anomaly, V’Ger was massive in size, capable of destroying space stations, fleets of ships, and even threatening to destroy entire planets. When Admiral Kirk and the crew of the Enterprise were able to figure out V’Ger, however, they found a life-form at its core, one which was just as curious to learn and grow as they were.
Theory #6: Saru will be given the captaincy of the USS Voyager-J.
The USS Voyager-J.
Saru’s future was briefly discussed before he offered to serve as Captain Burnham’s first officer. He has already been offered a command of his own, so Starfleet clearly values his command abilities and experience. President Rillak was seen to be assessing Captain Burnham’s suitability for the captaincy of the USS Voyager-J in Kobayashi Maru… and she mentioned having a shortlist of candidates. Could Saru be on her list?
At time of writing, a fifth season of Discovery hasn’t been officially confirmed. But if the show is to run for another season – or more – the question of Saru’s role comes up. It would be possible to work out a way to keep him on board as first officer for longer than one season, and in many ways I think that’s something fans would want to see. But at the same time, from an in-universe point of view, it kind of makes sense for Starfleet to use its experienced captains where possible.
Captain Saru.
Several of the qualities that President Rillak said she was looking for in a potential captain seem to apply to Saru. He’s more level-headed, less likely to put himself in a dangerous situation, and more inclined to think of the big picture. He has a weakness when it comes to Kaminar, as we saw toward the end of Season 3, but generally speaking he isn’t someone who lets his emotions get the better of him. His wisdom and calm demeanour could be valuable in the captain’s chair of the Federation flagship.
If Saru did depart Discovery in a future episode or season, could that perhaps set the stage for Star Trek: Saru… or perhaps Star Trek: Voyager-J? That’s a very interesting possibility! One element of Season 3 that I felt didn’t really get as much attention as it might’ve was that Saru was the Star Trek franchise’s first non-human captain (in a leading role). There’s perhaps scope to follow him on another adventure sometime in the future.
Theory #7: The gravitational anomaly is a superweapon.
The USS Discovery approaching the anomaly in the second Season 4 trailer.
We touched on this theory above when we considered the Federation’s possible complicity in the creation of the gravitational anomaly, but there are many other ways such a story could pan out. The anomaly’s unpredictable nature, as noted by Tilly and Saru at the end of Anomaly, could imply that there’s an intelligence at work, perhaps dictating the anomaly’s moves. This could be the anomaly itself as suggested above, but it could also be the case that the anomaly is being controlled or manipulated by something or someone externally.
If the anomaly turns out not to be a natural phenomenon, and is indeed deliberately targetting the Federation, who might the possible culprits be? And what would be the purpose behind attacking the Federation in this manner? If it’s the precursor to an invasion, perhaps later in the season we’ll see whoever is responsible making their next move.
Theory #7a: The Borg are responsible.
A Borg drone seen in The Next Generation.
We don’t know whether the Borg Collective still exists in the 32nd Century; it hasn’t even been mentioned since the USS Discovery’s arrival. However, out of all of the factions in Star Trek, few seem capable of creating a weapon on the scale of the gravitational anomaly. This wouldn’t be in line with the Borg’s usual modus operandi, as they prefer to assimilate rather than attack from afar. But a lot may have changed in the centuries since we last encountered them, meaning this could be the opening salvo of a Borg attack… or the last gasp of a dying Collective.
Theory #7b: The super-synths from Picard Season 1 are responsible.
This is all we really saw of the super-synths.
We still don’t know very much about the super-synths that Soji and Sutra attempted to contact in the Season 1 finale of Star Trek: Picard. Other than claiming to offer support and help to synthetic life, what are their goals and motivations? Was their offer even genuine, or was it a trap? The mechanical tentacles glimpsed in Picard Season 1 looked terrifying! Moreover, we know that the super-synths have the technology to move stars – something only possible with an advanced understanding of gravity. Creating a stable 8-star octonary system is an incredible technological and gravitational feat, so they have precedent of a sort when it comes to working with gravity.
Theory #7c: The Kelvan Empire is responsible.
Rojan, a representative of the Kelvan Empire.
This one might seem to come completely out of the blue! In The Original Series, Captain Kirk met representatives of the Kelvan Empire, a faction originally from the Andromeda galaxy. Seeking a new home, a Kelvan scouting party had reached the Milky Way and were looking for worlds to conquer. Kirk would ultimately dispatch an unmanned starship offering to help the Kelvan Empire find new worlds to settle – but what if his offer was rejected? Given the vast distances involved, the timelines kind of line up for the Kelvan Empire to return to the Milky Way.
Theory #7d: The Sphere-Builders from Enterprise are responsible.
A Sphere-Builder seen in Enterprise.
A defeated faction in one of the Temporal Wars, the Sphere-Builders initially hoped to convert a large swathe of the Alpha Quadrant to match their native extradimensional realm, and constructed a number of large space stations known as Spheres to facilitate this transformation. Crewman Daniels would tell Captain Archer that the Sphere-Builders were defeated in the 26th Century, but could they have since rebuilt? The gravitational anomaly isn’t necessarily the same as what they were trying to do with the Spheres, but they’re one of the few factions in Star Trek that might be capable of creating a weapon on this scale.
So those theories were new or saw some advancement in the first two episodes of the season.
To keep these theory posts as uncomplicated as possible, I like to keep all of my theories in one place. So below you’ll find all of my other Season 4 theories. These weren’t debunked or confirmed in the first two episodes, and indeed saw no real movement at all. They remain in play, though.
Theory #8: A major character will be killed.
A Starfleet coffin draped with the Federation flag as seen in Deep Space Nine.
Season 3 saw a couple of major departures: Mirror Georgiou entered the Guardian of Forever’s portal, and Nhan remained behind aboard the USS Tikhov. Yet despite the dangers the crew faced as they navigated the 32nd Century, battled the Emerald Chain, and figured out the mysteries of the Burn and the Verubin Nebula, only one ally – Ryn – lost their life.
Killing off a character can be an excellent way to communicate the stakes involved if it happens at a relatively early stage. It can also be a storyline that brings a lot of emotion, as we have to say goodbye to a beloved member of the crew.
Dr McCoy and Sulu playing dead in The Wrath of Khan.
In short, I think there are plenty of reasons on the production side why killing off a major character could make sense in Season 4. Discovery has seen a number of characters leave the series – far more than any past Star Trek show, in fact – but the series’ death toll is still relatively low when compared to many other modern television shows.
There are also a couple of characters who feel in danger for different reasons. For a full breakdown of which characters I think might be on the proverbial chopping block, check out my list of “death predictions” by clicking or tapping here.
Theory #9: There will be a character crossover from a past iteration of Star Trek.
Voyager’s Doctor is a contender!
Yes, I’m officially bringing this theory back! This is one that I doggedly clung to for all of Season 3, and while it arguably kind of happened with the Guardian of Forever, that wasn’t really what I meant.
The show’s 32nd Century setting has shot Captain Burnham and the crew far beyond anything in Star Trek’s established canon, and that should mean that practically everyone we remember from other Star Trek shows won’t be around any longer. But this is Star Trek – with some creatively-written technobabble, practically any major character could have survived all the way through to the 32nd Century!
Could Sutra still be alive in the 32nd Century?
It’s also possible for Captain Burnham to discover the logs of a long-dead officer; someone we as the audience would be familiar with. While this would be less of a “crossover” than if a character from the past could be physically present, it would still be a lot of fun to see!
There are a handful of characters who could have survived to the 32nd Century based on what we know about them from past iterations of the franchise. Included in this category would be people like Soji, Voyager’s Doctor, and a few others. But as we’ve seen in episodes like Relics and even the film Generations, all it would take to make a big crossover happen is some kind of temporal anomaly, stasis field, or other technobabble!
Theory #10: Burnham may not remain in the captain’s chair.
Michael Burnham in the captain’s chair in a promotional image for Season 4.
This is a controversial one, so let me just say up front that I’m neither in favour of this theory nor opposed to it – I just think it’s a possibility. As things stand, Discovery has had four different captains across its four seasons. One of the show’s unique points of interest within Star Trek’s broader canon are the very different ways in which these individual captains commanded the ship and crew.
It’s got to be considered at least a possibility, then, that the show will continue this trend. This doesn’t mean Captain Burnham will be killed off; I’d actually argue she’s pretty safe. But there are many different routes to her potentially leaving the ship, such as a desire for freedom that we saw in Season 3, or even perhaps taking up a new, more senior role within Starfleet.
Captain Burnham in Anomaly.
If this theory were to come to pass, it would be something I’d expect to see at the very end of the season. Even if Burnham seems 100% committed to her new role as captain, I don’t think it’s a theory we can definitively rule out.
It’s worth mentioning that at time of writing Discovery hasn’t been officially renewed for a fifth season – so all this talk of who’ll be in the captain’s chair by then could be moot! And of course this theory has a very strong counter-argument: that Discovery’s main story arc across its first three seasons can be read as Burnham’s ascent to the captain’s chair.
Theory #11: Kovich works for Section 31.
Kovich in Season 3.
This is another Season 3 theory that I’m choosing to bring back! The question of who Kovich is and what role he played in Starfleet and the Federation was left open at the end of Season 3, and we know that the character will return in some capacity. As someone who seemed to talk around the issue at hand and not reveal everything he knew, Kovich strikes me as potentially being a Section 31 operative – or even the head of the organisation.
We don’t know yet if the Section 31 series that was announced in 2019 will go ahead as planned. But if it does, there could potentially be a connection between Kovich and Georgiou that would tie the two shows together. Kovich is mysterious enough that his character could be taken in many different directions – but my money’s on Section 31.
Theory #12: The ban on time travel will be explained further.
Admiral Vance first told us of the ban on time travel.
This one is a hope as much as a theory right now! In short, the ban on time travel was introduced early in Season 3 primarily as a way for the writers and producers to avoid questions about why the 32nd Century was so different from how the far future had been depicted in earlier Star Trek productions, as well as to explain things like how the Burn was able to catch the Federation off-guard and why Georgiou couldn’t simply be sent back in time when she needed to.
But the ban itself raises some issues – the biggest one being the lack of detail on how it works and how something like this could possibly be enforced. As I said several times last season, it isn’t possible to just un-invent a technology so useful and powerful as time travel. Even just a few lines of dialogue going into a little more detail on the mechanisms involved in the ban would be really useful.
Theory #13: The Federation has flouted the ban on time travel.
HMS Bounty travels through time in Star Trek IV: The Voyage Home.
Sticking with the time travel ban, another theory I had last season was that the Federation – and Section 31 in particular – might have deliberately flouted the ban and failed to abide by the rules. Someone as straight-laced and committed to Starfleet ideals as Admiral Vance is highly unlikely to have sanctioned such a move, but someone like the shadowy Kovich (who we talked about a moment ago) might have. President Rillak could also be involved.
Obviously the bulk of the season’s story will deal with the gravitational anomaly. But there’s scope to either talk about the time travel ban in a standalone episode or even tie the two stories together – perhaps the anomaly has been unleashed as a result of unsanctioned time travel.
Theory #14: The story will connect with the Short Treks episode Calypso.
The USS Discovery seen in Calypso.
Despite a handful of moments in Season 3 which seemed to connect to Calypso, the story of the season overall ended up going in a very different direction. While we saw a couple of things that arguably did tie in to the Short Treks episode, major things like the USS Discovery undergoing a refit have actually moved the plot even further away.
It’s possible that Calypso will forever remain an outlier in Star Trek’s canon – an episode tied to a vision of Season 2 or Season 3 that was changed before it made it to screen. But earlier in Season 3 it felt like we were getting close to seeing how it could all be tied together – and I’m hopeful that Season 4 will find a way to do so.
Theory #15: The crew will have to defend the Verubin Nebula.
The dilithium planet at the centre of the Verubin Nebula.
The Federation is in a weakened state, and even if we see worlds like Ni’Var rejoin the organisation it’s still nowhere near as powerful as it once was. The Verubin Nebula is thus a very tempting target for anyone looking to gain an edge in a galaxy where dilithium is still in short supply. As the only known significant dilithium supply, whoever controls the Verubin Nebula will have a massive tactical advantage.
We can compare the Verubin Nebula to Deep Space Nine’s Bajoran wormhole in that respect – it’s a resource of huge strategic importance. Season 3 didn’t show us much about the makeup of the galaxy’s factions outside of the rump Federation and the Emerald Chain, but it’s got to be possible that factions like the Dominion, Klingon Empire, or even the Borg still exist and would want to seize the Verubin Nebula for themselves.
The USS Discovery arriving at the Verubin Nebula in Season 3.
Season 4 has teased a scientific puzzle – the gravitational anomaly. But that doesn’t mean there won’t be villains in play, and Discovery has introduced us to several compelling and interesting villains over its first three seasons.
To make a long theory short, it would begin to stretch credulity to think that everyone in the known galaxy would see the Federation rebuilding and having access to dilithium and not want to find out for themselves what’s going on. Once the Verubin Nebula’s existence becomes known, even if the Federation promises to share its bounty with all comers, it seems very likely that someone would want to take control of the dilithium supply for themselves.
Theory #16: Captain Burnham and the crew will encounter the Klingons.
The Klingons have been part of Discovery since the beginning.
By the late 24th Century the Federation and Klingons were firm friends, having been allied for a century and after fighting side-by-side against the Dominion. We don’t know if that alliance endured to the 32nd Century, but it’s certainly plausible to think that it did. The Klingons might even have joined the Federation at some point, and their violent warrior culture may have been significantly pacified.
One thing that could be very interesting to see is how the crew of the USS Discovery – almost all of whom are veterans of the Federation-Klingon war – would respond to that. They’ve worked alongside Klingons like L’Rell before, but many of them still see the Klingons as an old enemy. The story of overcoming that prejudice could mirror episodes like The Wounded from The Next Generation, and would be very interesting to see.
Theory #17: Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.
The USS Voyager was the first Federation starship to explore the Delta Quadrant.
It’s quite possible that Season 4 won’t revisit the Burn narrative in any detail. But one thing I’d be curious to see is the true extent of the disaster – did it reach all four quadrants of the galaxy equally, or did its effects fade out after a certain point? Michael Burnham discovered that the Burn had a point of origin, and that it radiated out from that point like ripples on the surface of water. Ripples eventually diminish, fading away the further they travel, and perhaps that’s true of the Burn as well. There could be whole areas of the galaxy that didn’t even notice the Burn – and maybe the ship and crew will visit one such region.
If the Delta Quadrant was left largely unscathed, for example, what might that mean for the likes of the Borg? It’s possible they aren’t even still around in the 32nd Century, but it’s also possible that they’ve had more than a century to expand and build up their forces while the Federation suffered.
Theory #18: The Guardian of Forever will be back.
Carl – the Guardian of Forever’s new persona.
Having reintroduced the Guardian of Forever in Season 3, I wouldn’t be at all surprised to see Discovery return to the Guardian’s planet in Season 4. The gravitational anomaly is something new and threatening, so it’s possible Captain Burnham might want to ask the Guardian for help or information.
The Guardian of Forever is also the only way we know of at present to travel through time – something that might be necessary if Season 4 makes an attempt to link up with Calypso in a big way. There are many reasons why Captain Burnham might want to revisit the Guardian, and it would be great to bring back actor Paul Guilfoyle, who played the Guardian’s humanoid avatar in Season 3.
So that’s it! Those are all of the theories I currently have in play.
Stay tuned for weekly updates to this list after new episodes air! I try very hard to publish my theory updates in between episodes so that nothing is out-of-date! Season 4 is off to an exciting start – and there are plenty of mysterious elements to get stuck into.
Star Trek: Discovery Season 4 is available to stream now on Paramount+ in the United States, Scandinavia, Latin America, and Australia. The show is on Pluto TV in the UK, France, Germany, Italy, and other parts of Western Europe at 9pm on Fridays and Saturdays. Individual episodes or the full season can be purchased on iTunes, Amazon Video, and possibly other platforms in the UK, parts of Europe, and select other countries. 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.
There’s some kind of series or miniseries focusing on R2D2 and C-3PO in development. There’s a prequel to Rogue One focusing on Cassian Andor. There’s Obi-Wan Kenobi, which will bring back the classic character to look at his life in between the prequels and the original films. There’s The Book of Boba Fett, in which Boba Fett is inexplicably back from the dead. There’s Ahsoka, a spin-off from The Mandalorian focusing on a character from the animated shows.
Boba Fett is one of several minor characters returning to Star Wars.
All of these projects indicate to me that the higher-ups at Disney and Lucasfilm don’t really know how to handle the Star Wars franchise. They’re intent on looking backwards at Star Wars’ past, seeming to think that what the franchise was is all it can ever be in the future. The result is spin-offs from spin-offs, prequels to prequels, unimportant chapters being thrown under the microscope, and characters of decreasing importance thrust into the spotlight.
Though it was purported to be a spin-off from The Mandalorian, one of the few announced projects that seemed to have any semblance of originality was Rangers of the New Republic. The series was to have looked at the New Republic – the galactic government which was created by the Rebel Alliance following the events of Return of the Jedi – in far more detail than ever before. However, Rangers of the New Republic has now been cancelled.
Logo for Rangers of the New Republic.
The New Republic hasn’t been explored in much detail in Star Wars’ main canon, instead being relegated to a background role in both The Mandalorian and the sequel trilogy. In The Force Awakens, we see Starkiller Base deployed against the New Republic’s capital system, destroying its government institutions and much of its military. By the time of The Last Jedi, the First Order is said to be in control of much of the galaxy, and the New Republic isn’t mentioned thereafter.
The Mandalorian showed us a glimpse of the New Republic, including how it tries to police outlying star systems and enforce its laws – and how it’s relatively ineffective at doing so. There was potential to expand on this depiction, showing both the governmental side of the New Republic, hampered by legislative inefficiencies, as well as the actual Rangers themselves.
A New Republic pilot seen in The Mandalorian.
A lot of Star Wars projects currently in production look at morally ambiguous characters. The Mandalorian focuses on a bounty hunter – someone who primarily operates outside of the law, albeit that he has a heart of gold underneath his armour. The Book of Boba Fett will focus on another Mandalorian bounty hunter, and if it stays true to its premise will show us Star Wars’ seedy underworld in more detail.
Andor will follow Cassian Andor – a character whose moral ambiguity was on full display in Rogue One, and who will do anything to advance the Rebels’ cause. Ahsoka is going to follow the titular Ahsoka Tano, an ex-Jedi who appears to be off doing her own thing rather than helping Luke Skywalker and the Rebels. The only series following an out-and-out hero – or one of the unambiguously “good guys” – is Obi-Wan Kenobi.
Cassian Andor will be the focus of a new Disney+ series.
Rangers of the New Republic had the potential to show us a different side of Star Wars – arguably one closer thematically to the original films, yet still distinct and independent of them. While other shows would look at the underworld of the galaxy, at criminals, or at spies who’ll do anything for their cause, Rangers of the New Republic could’ve been a breath of fresh air. The series could’ve presented an optimistic cast of characters who were genuinely trying to help the new government succeed.
Characters who are too pure and excessively virtuous can be boring, and that would’ve been a pitfall that Rangers of the New Republic would’ve needed to avoid. But had the show managed to walk that line, we might’ve seen something a bit different from Star Wars’ other current and upcoming offerings: a show that would’ve happily looked at the “good guys” as they tried to shore up the New Republic and tackled everything from criminals to ex-Imperial officers.
Emblem of the New Republic.
In part, the decision to cancel Rangers of the New Republic is probably tied to the situation with Cara Dune actress Gina Carano. Though it was never officially stated that the show would star Carano, many fans and commentators assumed that she would have a significant role to play, so following her dismissal from Lucasfilm in the aftermath of some very stupid social media posts, perhaps the show was always living on borrowed time.
We won’t get into the Gina Carano situation here. Suffice to say that anyone with any kind of profile needs to be incredibly careful what they say on social media, and she wasn’t. She upset a lot of people, doubled down on some of her controversial remarks, and that ended up costing her a potential recurring gig with Lucasfilm. She only has herself to blame.
Gina Carano as Cara Dune in The Mandalorian Season 1.
I would argue, though, that Rangers of the New Republic didn’t need to be all about Cara Dune. We met a couple of New Republic characters in The Mandalorian, and they could’ve served as a gateway into the show, keeping it connected to The Mandalorian and potentially building up to a crossover event with one or more of the other shows that were in production at the same time.
There was potential in Rangers of the New Republic. Not only was it a series that could’ve been something different from the likes of The Mandalorian and The Book of Boba Fett by looking at the post-Return of the Jedi government, but it was also a series that could’ve left familiar characters behind to strike out on its own. All of the other Star Wars projects currently in production have this kind of backwards-looking, nostalgia-heavy focus, and Rangers of the New Republic was one of the few offerings that had the potential to be something a little different. As Star Wars continues to double down on nostalgic throwbacks, I fear we’ll come to regret the cancellation of Rangers of the New Republic.
The Star Wars franchise – including all films and series mentioned 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.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4. Spoilers are also present for Star Trek: Picard Season 1 and Star Trek: The Next Generation.
Ahhh… it feels so good to write these words! Star Trek: Discovery is finally available in Latin America, Western Europe, Australia, and a few other countries and territories via a patchwork of different streaming services, television channels, and other digital distribution methods. Significant numbers of Trekkies in Africa, Asia, and elsewhere still can’t access Discovery Season 4 (by conventional methods, at least) but it feels like a victory for fan activism nevertheless. It’s my sincere hope that ViacomCBS will continue to try to bring Discovery Season 4 – and the rest of Star Trek – to regions and territories where it isn’t yet available, and I’ll keep bringing up the issue at every opportunity.
Following the positive news the other day that Discovery is going to be available to watch, I have taken the decision to resume my reviews and theories for the duration of the season. I felt it was necessary to criticise ViacomCBS, Paramount+, and the rest of the corporate side of Star Trek following their poor decision to withdraw the show, but equally I feel it’s important for all of us to support Star Trek if it is available. That means watching it on Pluto TV, purchasing episodes on platforms like iTunes/Amazon, or watching on Paramount+.
Pluto TV is the current home of Star Trek: Discovery here in the UK – and in much of the rest of western Europe.
This isn’t a one-way street, and when corporations make positive decisions – especially following a significant fan campaign – I think we need to go out of our way to support the franchises we love and show companies like ViacomCBS that listening to fan feedback pays off. It’s not good enough to criticise the company for their nonsense, but fail to acknowledge and respond positively when they reverse course or take good decisions.
The “victory” is bittersweet because I know that there are fans in other parts of the world who can’t watch Discovery. If I still lived in South Africa, for example, I’d be continuing my one-person Discovery review blackout! But because the show is now available here in the UK, I will be resuming my reviews. That doesn’t mean I don’t support fans in other parts of the world, and I will continue to do what I can in my own small way here on the website to call on ViacomCBS to make Discovery and the rest of Star Trek available.
Having dedicated close to 10,000 words and a week of my time to Discovery Season 4 and the international distribution situation, I think that’s more than enough on that for now! So let’s get back on track with a double-header review of the first two episodes: Kobayashi Maru and Anomaly.
The first shot of the new season.
Kobayashi Maru kicked off with a neat CGI sequence showing the USS Discovery arriving from a Spore Drive jump, then Book’s ship departing the shuttlebay. The special effects work across both episodes was outstanding, and the animators and artists deserve a lot of credit – even more so when you consider that much of the work was done remotely due to the pandemic. In particular I’d point to shots of Book’s ship in flight, the USS Discovery’s Spore Drive jumps, and the anti-gravity sequences that we’ll look at in a moment.
The one criticism that I have of Kobayashi Maru is related to CGI, though. It isn’t what you think – none of the effects themselves were bad! But as a consequence of the somewhat rapid, occasionally chaotic way that the episode was cut together, edited, and paced, at a couple of crucial moments, CGI sequences were nowhere near as long as they needed to be to properly communicate what was happening. At both points where Book was looking at the impact of the gravitational anomaly, first on Kwejian’s moon from the console of his ship and later at Kwejian itself from the bridge of Discovery, the CGI shots of the anomaly and the remains of the planet were barely shown for a scant few seconds – not long enough, in my opinion at least, to have the impact they were intended to have.
This CGI shot of the remains of Kwejian was only visible for a few seconds.
In the first case I think we can excuse the pacing. Book blacked out as the anomaly hit, and the structure of the scene was enough to show that the proverbial “something bad” was happening, but also the short cut kept it mysterious enough that we didn’t see everything – and were left wanting to know more. But as Book stood on the bridge of Discovery, we caught a glimpse of Kwejian that began somewhat blurry and obscured by the ship’s viewscreen, then lingered for mere seconds before cutting back to Book and the crew to see their reactions. A few extra seconds, perhaps, might’ve helped this moment.
As it is, we know what happened to Kwejian. And since we’re already talking about the premiere’s biggest single moment, let’s jump into the “should Kwejian have been destroyed” conversation! In my view, the season premiere needed something big to sufficiently communicate the stakes. A character death could’ve accomplished this, but considering that the anomaly is being presented as this kind of galaxy-ending threat, the destruction of an entire planet – especially one we’re familiar with and from which a main character originates – succeeds in this objective.
Book’s immediate reaction to the loss of his homeworld.
Objections to the Kwejian storyline seem to stem from a much broader point of contention – that Discovery shouldn’t be running this kind of apocalyptic storyline for the third (or arguably fourth) season in a row. Taking a break from saving the galaxy would’ve allowed the show to tell different kinds of stories – stories that could be just as exciting and dramatic, but smaller in scope and more character-oriented. That’s not a bad argument, but it’s been apparent since we got the first teaser trailer for the season at First Contact Day in April that this was going to be the direction of travel. In the context of this kind of story, the destruction of Kwejian works; it succeeds as a story point.
Obviously this hurts Book, and represents a change for his character that’s at least as substantial as Saru’s Season 2 vahar’ai transformation. Two episodes in, we don’t really know what the outcome of this will be for Book. He could follow the path of Kelvin-timeline Spock, recommitting himself to his work. He could draw on the loss of Kwejian at a key moment later in the story, perhaps spurring him on as he knows he’s one of the last remaining Kwejian natives. Or he could fall deeper into a depression that lasts all season and from which he struggles to recover. One thing is certain, though: Book won’t be the same after the destruction of his home planet and the loss of his family.
Book being comforted by Burnham in Anomaly.
President Rillak manages to simultaneously embody the “bad admiral” character archetype from past iterations of the franchise (where Starfleet admirals would often be depicted as adversarial if not outright evil) while also feeling like a character with nuance and depth. It would’ve been easy for Rillak to fall into a fairly flat villain trope given that Kobayashi Maru deliberately pitted her against Captain Burnham right from the start. But her reasons for seeking an evaluation of Burnham, her level-headed rebuke and assessment of Burnham’s captaincy, and the impressive way she stepped in to disarm the situation aboard the space station all work in her favour.
However, I would be remiss not to point out that her noisy interventions on the bridge of a starship while it was engaged in a dangerous and highly time-sensitive assignment ended up causing a lot of problems. Had Captain Burnham not been delayed by those crucical seconds, the outcome of the mission could have been very different – and someone who lost their life might’ve survived. There is a time and place for someone in a position of authority to question or criticise, and in the heat of the moment is not that time.
President Rillak interrupted Captain Burnham at the wrong moment.
I’m glad that President Rillak has been brought on board, though. The only other authority figure we’ve met within Starfleet is Admiral Vance – and I can’t imagine him being so adversarial and harsh toward Captain Burnham. I was worried before the season premiered that storylines which could’ve been Vance’s will end up going to President Rillak, but I’m actually glad in this case that he gets to remain on friendly terms with Discovery’s captain, and that we don’t have to see him as an obstacle for her to overcome.
The “butterfly aliens” had a neat, unique design, and it played into the story of repairing their non-functional satellite network well. My only criticism of this sequence would be that it felt rushed. The intention was to show Captain Burnham and the crew working together, knowing each other’s strengths and using them to solve a puzzle. But Kobayashi Maru as a whole felt very rapidly-paced, and this sequence – which in past iterations of Star Trek might’ve been a whole episode – felt undeniably rushed, lasting only a few minutes. The episode wanted to get into the meat of the story, and the “butterfly aliens” and their satellites were elbowed out of the way in relatively short order to make that happen.
The butterfly aliens up close.
I get the sense that Book and Burnham’s mission to deliver dilithium to the “butterfly aliens” might be all that we get to see of the Federation being rebuilt this season. Some of this seems to have happened off-screen, and it feels like the rebuilding, expanding Federation is basically going to be a backdrop to the main event – the story of the gravitational anomaly.
Considering how big and devastating the Burn had been, I think I’d have liked to see more of this rebuilding work. It makes a good backdrop, don’t get me wrong, and it gives the crew something to fight for and defend as they step up their efforts to defend against the anomaly. But when you think back to how fractured and small the Federation felt in Season 3, particularly in the first half of the season, there’s a bit of a risk that we’re rushing past something meaningful; a story worth telling.
Fixing the satellites for the butterfly aliens was a short moment designed to be a microcosm of Captain Burnham’s and the USS Discovery’s work prior to the main anomaly storyline.
Frankly, I could have happily entertained the idea of an entire season’s worth of “rebuilding” stories. Seeing Captain Burnham and the crew traveling the length and breadth of the rump Federation, bringing help and hope to familiar and new races would have been really interesting to see. It would’ve allowed for a season-long story, but one comprised much more of individual elements – rebuilding work on one planet or in one system, then moving on to a different area to face a different challenge. It was nice to get a taste of this rebuilding work – which is presumably something Captain Burnham and the crew have been doing a lot of off-screen – but there was absolutely scope to do a lot more with this idea.
Though only on screen for a brief moment, it was wonderful to see Admiral Vance’s family. He’d mentioned them in Season 3, but it was implied that his work meant he couldn’t spend as much time with them as he wanted. To see him able to welcome them to Starfleet Academy and show them around was really touching.
Admiral Vance with his wife and daughter.
One moment in Kobayashi Maru had me tearing up – and I bet you can guess which one! As President Rillak introduced the assembled cadets and officers to Starfleet’s new Archer Space Dock, Archer’s Theme from the end credits of Star Trek: Enterprise was heard. The USS Voyager-J was docked, and for a brief moment I got very emotional! Star Trek has done this to me before: seeing the refit USS Enterprise for the first time in The Motion Picture, accompanied by another beautiful piece of music, is another sequence that turns on the water works! This scene was very similar, and was truly a beautiful homage to Enterprise. More than a millennium after his voyages of exploration, it’s incredibly sweet to see the Federation remembering Captain Archer.
As Kobayashi Maru drew to a close, pretty much everything we’d seen across the episode’s fifty-minute runtime had ceased to feel important. The revelation of Kwejian’s destruction overruled everything else, and the conflict between Captain Burnham and President Rillak felt petty in comparison. Tackling the anomaly would mean they’d have to pull together – any interpersonal conflict or rivalries now needed to be set aside. As I sat down to watch Anomaly, the direction of travel for the season felt set.
This moment, accompanied by a familiar musical sting, was beautiful
That doesn’t mean that Kobayashi Maru was some kind of waste. It told an exciting and engaging story in its own right, one which laid the groundwork for what’s to come in two key ways: firstly by showing off how far the Federation has come, giving Captain Burnham and the crew something to fight for, and secondly by introducing the gravitational anomaly and its devastating destructive power.
So that brings us to Anomaly.
Despite its subject matter, Anomaly ended up being a much more intimate, personal, and emotional episode than I initially expected. Several different characters got cathartic, emotional storylines that really showed off how well Discovery can do these smaller, personal moments even in the midst of a galactic-scale story.
Captain Burnham in Anomaly.
Book and Stamets made an amazing, underrated pair in Anomaly, and their central conflict was handled incredibly well. In the run-up to the season I had asked what Book’s ability to control the Spore Drive could mean for Starfleet, and we got part of an answer to that in Kobayashi Maru, with President Rillak explaining that a “next-generation” Spore Drive was in development. But naturally, a proud person like Stamets would be impacted by the reveal too.
I liked the way this was handled. It wasn’t presented as mere jealousy – though perhaps Stamets’ ego did play a role in the conflict between himself and Book – but more a feeling of helplessness. Having to rely on other people, feeling unable to help and having to watch from the sidelines as Stamets did in the Season 3 finale, is never a nice feeling. As someone who’s disabled and who has to rely on help more often than I’d like, this is definitely something very relatable. Everyone wants to feel independent and in control of their life and their situation – Stamets lost that control, and having already lost his husband once before was already emotionally vulnerable to this kind of situation. He appears to have redirected some of those feelings onto Book, but he recognised that and tried to make amends.
Stamets and Book made a great pair.
David Ajala and Anthony Rapp played off one another beautifully in their scenes together, and it makes me want more Book and Stamets! They’re an unlikely team in so many ways, but it’s fantastic to see Discovery stepping out of its comfort zone and pairing up different character duos. This is something I hope to see more of as the season rumbles on.
One character pairing that came together beautifully at the beginning of Season 3 last year was Saru and Tilly, and seeing them reunited in Anomaly was fantastic. Saru is a calming influence on Tilly, who can be excitable and emotion-driven, and their contrasting personalities make for truly fun viewing. Tilly has come a long way since Season 1, but she still needs the occasional support of someone like Saru.
Tilly was glad to have Saru back!
Speaking of Saru, he’s now back aboard Discovery – albeit in a less-than-permanent capacity. What I liked about Saru’s reunion with Captain Burnham was the agency he was given over his role after returning to Starfleet. It would have been easy for the writers to have Burnham be the one to ask Saru to remain aboard the ship, but for Saru himself to make the offer to serve as first officer was an outstanding choice. I got genuinely emotional seeing Burnham accept his offer.
This might irritate the Discovery haters, but Captain Burnham and first officer Saru mirror Kirk and Spock in more ways than one; echoes of Star Trek’s first main character pairing are present. Burnham is younger, quicker to act, and more of a risk-taker. Saru is older, more experienced, and slower and more deliberate when considering his moves. He’s the perfect first officer to serve someone like Captain Burnham. She needs that kind of XO just like Kirk needed Spock – and while we’re talking about contrasting pairs, just like the calmer, level-headed Picard needed someone like Riker.
Captain Burnham arguably needs a first officer with the temperament of Saru.
I’m glad that Saru didn’t have to be demoted in order to take up his new role (like poor Decker was in The Motion Picture!) Starfleet ships have been depicted with two officers who both hold the rank of captain on several occasions; Kirk and Spock were both captains during the events of The Final Frontier and The Undiscovered Country, for example. So I don’t think it presents any kind of in-universe problem to see Saru occupy the role of first officer.
It would’ve been potentially interesting to see a secondary character promoted to occupy that role. Nilsson, Rhys, Bryce, or even Linus were possible contenders, and it wasn’t really clear who served in that role before Saru came aboard – Discovery has been flying around for months, after all. But on the whole, I think the role suits Saru perfectly. I’d even go so far as to say it suits him better than the captain’s chair ever did. His style is well suited to being the person to present multiple options, to consider the possibilities, but to leave the decision-making to someone else. I just hope that his presence on the ship won’t end up causing Captain Burnham any problems; I don’t think the writers would go down that road, but you never can tell!
There were other prospective first officer candidates – such as Rhys, who appeared to have the conn for a time in Kobayashi Maru.
Speaking of Captain Burnham, we see two distinct aspects of her command style on display across the first two episodes of the season. In Kobayashi Maru, particularly during the fast-paced opening sequence, we see her at her most self-assured, confident not only in her own abilities but in those of the crew under her command. In Anomaly, we see her willing to listen to the advice of members of her crew – relying on Tilly, Adira, Bryce, and particularly Saru at several key moments across the episode.
Critics of Michael Burnham’s characterisation would be well-advised to watch her in Anomaly in particular. I don’t think it’s fair to say she’s “changed” in Anomaly compared to how she’s usually been portrayed, but some of the criticisms of Burnham in past seasons stem from a sense of selfishness or self-centeredness that arguably are more to do with the way Discovery as a whole is written than the way Burnham herself is. But in Anomaly we see firsthand how she’s relying on others – and from the production side of things, how Discovery is willing to allow other characters far more agency over the way the story unfolds.
Anomaly was a great episode for Captain Burnham.
Someone like Bryce is a relative “blank slate” – despite being a longstanding member of the bridge crew. We don’t know a lot about him, his background, or his hobbies, so in that sense making him the one to figure out a solution to the dangerous situation makes sense. It’s quite believable that Bryce might enjoy kite-surfing – far more so than if it was suddenly a hobby ascribed to Burnham, Saru, or Tilly for the first time. It’s a contrivance, for sure, but Star Trek’s history is littered with those – many of which are far more egregious!
David Ajala put in his best and most emotional performance of the series so far in Anomaly, communicating the incredible, almost unimaginable pain of someone who feels like he’s lost everything. Mixed in with loss is regret – Book had spent most of the last few years away from Kwejian, prior to the events of Season 3’s episode Sanctuary, and in light of the loss of the world and his family, regrets those lost years all the more.
Book lost almost everything and everyone he had cared about – and David Ajala’s performance captured that pitch-perfectly.
The standoff between Captain Burnham and Book was riveting to watch in Anomaly, as the latter insisted on helming a dangerous mission into the anomaly. It reminded me of The Next Generation Season 6 episode Lessons, where Captain Picard struggles with the similar conundrum of ordering someone he cares about to undertake a dangerous mission. Lessons is a fantastic episode, but I think in retrospect it’s limited by the fact that Nella Darren – Picard’s love interest – is a new, one-off character. Book and Burnham’s relationship has been well-established over the course of Season 3 and into Season 4, so the conundrum she faces as he insists on going on the mission is something we as the audience are far more invested in.
Star Trek has, on more than one occasion, depicted people at moments of severe depression, willing to end their lives or to give up. Book is in that position in Anomaly – not actively trying to die, but so uncaring about his life in the wake of everything that’s happened that he’s willing to take risks, put himself in harm’s way, and give up rather than fight to survive. But Anomaly showed Book that Burnham is in his corner, willing to fight when he isn’t, and pushing him to find the strength to try.
Burnham was there for Book when he needed her most.
Anomaly shows us, through a variety of different character pairings, how people can help one another through difficult circumstances. Whether it’s Tilly complimenting Adira for their hard work, Saru telling Burnham to be a partner, not a captain, Dr Culber talking to Gray through Adira as he works on his new synthetic body, or Stamets reaching out to Book, the theme of the episode is connection.
I loved the Picard reference in the scene with Adira, Gray, and Dr Culber. It was an interesting revelation that the “Soong process” for transferring minds was ultimately unsuccessful in most cases – I wonder what impact that will have on future Picard stories. The character it might impact most is Dr Soong himself, as he had planned to transfer his own consciousness into a synthetic body. But perhaps we should leave that speculation for another time! I think the intention here was to pre-emptively close a potential plot hole – by saying that the Soong process is basically unlikely to succeed, it gets around potential questions in future about why it wasn’t possible to save characters by transferring them into synthetic bodies when they’re near death. I’m not sure it was necessarily something that needed to be wrapped up in this fashion, but then again we Trekkies can be a pedantic bunch!
Dr Culber connected Gray’s story to Star Trek: Picard Season 1.
As someone who has struggled for a long time with my own gender identity, the scene with Gray “customising” his new body was very emotional. For a long time, I lacked the confidence to change anything about my appearance – especially when going out in public – to better match my own gender identity, so to see Gray talking about making cosmetic changes in order to be more comfortable in his own skin – literally – was a deeply emotional moment.
There’s power in representation, and even though Gray wasn’t the main focus of Anomaly, the main scene he had with Dr Culber and Adira was one of the best, and perhaps most underrated, in the entire episode for me.
Gray had the opportunity to customise his new body.
One of the big questions facing Season 4 at the moment is the nature of the gravitational anomaly. It always felt that the characters’ first guesses as to what it could be wouldn’t pan out, but I kind of liked the idea of a rogue black hole – or pair of black holes, in this case. Facing a purely natural phenomenon could be a story that brings with it all kinds of real-world parallels as we struggle with the climate emergency, for example.
However, it seems from the ending of Anomaly that Stamets, Tilly, and co. weren’t correct with their binary black hole theory, once again opening up the story to a completely unknowable next phase. Keeping the mystery going is good; had the anomaly been all figured out within a couple of episodes it might’ve been less exciting going into the rest of the season! It was interesting, though, to see Tilly in the closing moments of Anomaly presenting this as a defeat.
The nature of the anomaly is still uncertain.
Tilly seemed to be suggesting that the fact that the anomaly’s path remains unpredictable means that the mission to scan it was somehow unsuccessful, but I’m not sure that’s the best way to present this revelation. Scanning the anomaly up close yielded a treasure trove of information for the crew to scour, and was an absolutely necessary step in understanding the danger it poses. Maybe its path is still impossible to predict – for now. But that doesn’t make the mission a failure. And considering no lives were lost and the damage to the ship seems repairable, I guess I just don’t really get why the closing moments of Anomaly chose to present the results of the data in such a negative way. Obviously it’s bad news that the path of the anomaly is still unpredictable – but that’s no one’s fault and it doesn’t mean that the mission failed.
The visual effect of the crew lifted out of their seats as artificial gravity failed was incredibly impactful; one of the most powerful visuals in the first two episodes. I can see why clips of that were chosen for the trailers! Star Trek rarely depicts artificial gravity failures – doing so has historically been prohibitively expensive. A couple of behind-the-scenes photos have shown the cast suspended in harnesses and on wires, and it seems clear that those sequences will have been difficult to film. It was worth the effort, though, and the finished effect is fantastic. Not only that, but I think it’s made substantially more impactful because artificial gravity failures are so uncommon in Star Trek.
Dr Culber and Captain Burnham float free as Discovery’s artificial gravity fails.
So that was Season 4’s opening pair of episodes. It took fans a lot of hard work to ensure the episodes would be available to more folks, so I hope everyone has found a way to tune in and watch via official channels – where such channels are available, of course. I think the season got off to a rocky start with all of the international mess, but the episodes themselves were fabulous, setting up a suitably engrossing mystery that feels very open right now. The story could go down any one of many different, utterly unpredictable routes – just like the anomaly itself!
Discovery is always at its best with moments of intimate characterisation, and there were many, many moments across both episodes that showed off the characters at their best – and gave the actors some fantastic material to work with. There were amazing performances from David Ajala, Sonequa Martin-Green, Doug Jones, Ian Alexander, and Chelah Horsdal in particular, and I’m sure I’m leaving too many folks out. The visual effects are once again amazing, an improvement on Season 3 – something I didn’t think would’ve been possible.
As the credits rolled on Anomaly I was left wanting to know more – and not wanting to have to wait a week! That’s the mark of a good story in my book, leaving fans clamouring for more, wanting to figure out the show’s mysteries. I’m eagerly awaiting next week’s episode, Choose To Live. Stay tuned for my weekly list of theories in the days ahead, and a review of Choose To Live next week!
Star Trek: Discovery Season 4 is available to stream now on Paramount+ in the United States, Scandinavia, Latin America, and Australia. The show is on Pluto TV in the UK, France, Germany, Italy, and other parts of Western Europe at 9pm on Fridays and Saturdays. Individual episodes or the full season can be purchased on iTunes, Amazon Video, and possibly other platforms in the UK, parts of Europe, and select other countries. 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 minor spoilers present for the Mass Effect trilogy.
Have you heard the latest rumour? Amazon is apparently very close to securing a deal to make a television series based on the Mass Effect video game franchise. I thought it could be fun to discuss this rumour – given that it seems to be close to being officially confirmed – as well as the merits of big-budget television shows in general.
Many film adaptations of video game properties have proven to be disappointing. There are a number of reasons why that’s the case, and it varies from project to project, but one thing absolutely worth considering is the fundamental, irreconcilable difference between how long the average film lasts and how long the average video game lasts.
1993’s Super Mario Bros. is an… interesting film.
Many video games – especially those with strong stories, like the Mass Effect series has – can require many, many hours of playtime. Despite what I said a moment ago, there really isn’t such a thing as an “average” video game length; it can vary from a couple of hours all the way to dozens or even more than a hundred. But most video games that have seen disappointing film adaptations in recent years have been these kinds of long, story-driven titles – and condensing a whole video game’s worth of story into a two-hour film is difficult to get right.
This is also the problem a lot of novel adaptations face, so much so that “the book was better than the film” has become an overused cliché! Even adaptations that have been widely praised overall – like the Harry Potter series, for instance – had to make significant story cuts to squeeze an entire book’s worth of plot into a standard cinematic runtime. Exceptions exist, of course, and the Lord of the Rings films from a few years ago are an example. But in that case, the extended editions of the films are widely considered to be superior to the shorter theatrical cuts, and the extended edition of the trilogy clocks in at well over eleven hours long.
The Lord of the Rings films are an exception to the rule!
What I’m trying to say is that a story like Mass Effect will be far better served by a television series adaptation than it would’ve been by a film adaptation. If it’s true that this is the route Amazon wants to go down, I’ll be very interested to see what will become of the project in the months and years ahead.
In the aftermath of big serialised shows like Lost and Game of Thrones, audiences have become used to story arcs that run across multiple seasons, something that would be a perfect fit for a long story like the one seen in the Mass Effect games. Even just the original story of Mass Effect 1 could itself be two seasons’ worth of television without feeling padded or bloated, so there’s potential in this project to really bring the Mass Effect galaxy to life.
Saren, the main villain of Mass Effect 1.
Amazon is still a relative newcomer to the television series game, but the company has already got an impressive track record. Shows like The Man in the High Castle and Jack Ryan were great, The Wheel of Time, which debuted just last week, is off to a fabulous start, and the company also picked up The Expanse following its cancellation, putting out two amazing seasons of the show so far. Amazon has also played host to Star Trek: Picard and Star Trek: Lower Decks, giving Prime Video a solid lineup in the sci-fi and fantasy genres. And we haven’t even mentioned the upcoming Lord of the Rings series!
Projects like The Lord of the Rings have demonstrated Amazon’s willingness to spend vast sums of money on their television shows, and if they do pursue a Mass Effect series, I would hope they’d be willing to invest there too. One of the great things about the Mass Effect galaxy is how “alien-feeling” some of its non-human races are. Races like the volus, hanar, and krogan were able to be created for the video game series because the animators weren’t limited by the need to use human actors – and recreating those races for the small screen will be a challenge.
Bringing a hanar to the screen in a live-action series will be a challenge!
I don’t like to speak ill of Star Trek, but in that respect I think Mass Effect actually gives the franchise a run for its money! Many alien races in Star Trek – and other live-action sci-fi shows and films too – are naturally limited by using human actors. There have been some very different-looking aliens, of course, but the majority of the main cast are humanoid, something that’s also true of Star Wars. Mass Effect shook that up with races like the krogan being part of the player’s crew from the very first game, and I’d be curious to see how well that would work in a live-action production.
The story of the Mass Effect trilogy, with Commander Shepard on a quest to save the galaxy from the Reapers, would be absolutely fascinating to see retold as a television show! It would definitely need multiple seasons to do justice to such a long story (my playthrough earlier in the year of Mass Effect: Legendary Edition clocked in at almost 80 hours) but I think it could be done exceptionally well.
I recently replayed the Mass Effect trilogy.
Some fans have expressed concern about retelling the story of the Mass Effect trilogy. Not only would doing so mean recasting characters that fans have come to know and love, but it would also mean setting in stone a number of key decisions which form the core of the games’ role-playing and branching storylines.
On the first point, I think that we’ve seen so many franchises recast key characters over the years that I’m not particularly worried. In Star Trek we’ve had characters like Spock go through three iterations at this point, and while many fans have a favourite portrayal, I don’t think anyone disagrees that all three versions of the character work as intended in their various stories. Just like many actors have played roles like Hamlet or Richard III over the years, there’s room for more than one actor to play Commander Shepard. Heck, the original Mass Effect games already have two Commander Shepards – a male and female version of the character!
There are already different Commander Shepards…
On the second point, the Mass Effect galaxy absolutely feels like a vast setting in which different stories could be told. The story of the Reaper War is exciting and I think would make for engrossing television, but equally a Mass Effect television show could tell an original story in the same setting. Amazon is doing precisely this with its Lord of the Rings adaptation – the new show won’t be a retelling of the books nor a remake of the films, but a prequel set millennia earlier.
There’s huge potential in a Mass Effect television series, and there are many different ways to jump into the setting and tell stories. It wouldn’t have to be a straight adaptation of the video games and Commander Shepard’s story, because there are so many other stories out there in the Mass Effect galaxy. But at the same time, why not? The Reaper War is one of the best sci-fi stories I’ve seen in many years, and even though its rushed and imperfect final act did put a downer on things, that’s something that a television series could actually fix. An adaptation doesn’t have to be a like-for-like copy, so there’s scope to go back into the story and fix things that didn’t go to plan in the original games.
So watch this space! The rumour mill suggests that an announcement may be imminent, and while I don’t have “sources” of my own, I’m picking up this story from a number of different outlets – some of which are more reliable than others! For my two cents, I think a series like Mass Effect would work far better as a television series than a film, so I’m keeping my fingers crossed. If and when we get any major news be sure to check back as I may have more to say.
The Mass Effect series 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.
After a difficult week for the entire Star Trek fan community, we finally got some good news. Star Trek: Discovery Season 4 is going to be available outside of North America after all.
This isn’t “total victory,” as there are still too many countries and territories where the season won’t be available – particularly in Asia and Africa. The series is not returning to Netflix. But in regions where Paramount+ exists – Australia, Scandinavia, and Latin America – the decision to withhold the new season from fans has been reversed. This was the easy bit – that particular decision was so stupidly arbitrary that it didn’t make sense to begin with.
Here in the UK, as well as elsewhere in Western Europe, the new season will go to Pluto TV – described as a “free streaming television service.” I’ll have to look up Pluto TV and how it works as I’m not familiar with it at all. In the UK, Germany, France, Russia, South Korea and “additional select countries” (whatever that might mean) Season 4 episodes will be available to purchase digitally on “participating platforms.” Could that mean Amazon Video, among others? Watch this space, I guess.
Discovery Season 4 is coming to Pluto TV!
Reversing the Netflix decision was never going to happen, not after contracts had been torn up and significant sums of money had changed hands. But this is a victory for Star Trek fans – and for fans of any franchise, series, film, or video game across the entertainment industry. It demonstrates the power of fans coming together, and how these kinds of pressure campaigns and reactions can and do have an impact even on the biggest corporations.
At the end of the day, ViacomCBS saw the backlash as a problem and a threat to their current and future profits. That’s the power that we – all of us – have as consumers and as fans. Because we all pulled together and expressed our collective anger, outrage, and frustration, the corporation had no choice but to sit up and take notice. Especially when the value of their shares began to fall.
ViacomCBS shares tumbled following the Discovery announcement and the backlash from fans.
A couple of days ago on Twitter, some anonymous nobody told me to stop “crying” about the Discovery decision because it “wouldn’t change anything.” That person was wrong. On an individual level, none of us have the power to stand up to big corporations; that’s true. But en masse, when fans pull together we can do anything. Star Trek’s history is testament to that.
In 1967-68, a letter-writing campaign orchestrated by Star Trek superfan Bjo Trimble literally saved The Original Series from cancellation at the end of Season 2. The fact that the show got a third season at all was all down to Trekkies. And later, in the 1970s, pressure from fans to bring Star Trek back led to The Animated Series and later The Motion Picture – the film which kicked off Star Trek’s renaissance going into the 1980s.
Star Trek returned in 1979 thanks to the overwhelming support of the fan community.
Following the cancellation of Enterprise in 2005, the fact that the franchise remained popular was a key factor in 2009’s reboot film getting the green light – something which ultimately led to Discovery, Picard, and the rest of modern Star Trek. At every stage of the franchise’s history, fan-led campaigns and the response from fans has been absolutely critical to keeping Star Trek going and reinvigorating the franchise. So it has proved again with Discovery Season 4.
This victory is imperfect. There are still too many Trekkies across the world who can’t access the series – and the rollout of Paramount+ is still plagued with the same problems it was yesterday. For fans in regions where Season 4 still won’t be arriving, this victory may not mean much at all. But it does give us hope for the future.
We still need to work hard to ensure Paramount+ and Star Trek are available to everyone.
ViacomCBS appeared to have forgotten about Star Trek’s international fans. But we reminded them that we’re still here, and that we still want to support the franchise and, albeit reluctantly in some cases, the corporation that owns and manages it. North American Trekkies were allies in that fight – as were many of the cast and crew of Discovery itself, applying pressure in public through their statements.
We can’t look at this as the end of the affair. Trekkies in Africa, Asia, Eastern Europe, and other parts of the world still won’t be able to watch Discovery Season 4, and there are too many regions without a planned rollout of Paramount+. We mustn’t forget that, and we have to keep pressure on ViacomCBS to ensure that they deliver for every Trekkie, not just those in the wealthy west.
Here’s hoping everyone can watch Discovery Season 4 soon.
I feel optimistic today. Not only because Discovery Season 4 is coming here in 48 hours’ time, but because ViacomCBS recognised how badly they screwed up. Rather than doubling-down and continuing to ignore the response from fans, the corporation did something to mitigate the problem, no doubt at a significant financial cost. It won’t have been free to disrupt Pluto TV’s schedule with mere hours to spare, after all! I’d been worried about Picard Season 2 and Strange New Worlds in light of the Discovery Season 4 debacle, but perhaps ViacomCBS has now learned how bad of a decision it was to try to cleave the fanbase in two. Maybe that means those shows are safe – that we will be able to watch Picard Season 2 together in February, no matter where we live.
So it’s time to investigate the mysterious Pluto TV and see how that works! Apparently Discovery Season 4 is being broadcast there at a scheduled time – 9pm local time – so I guess it works like a television channel rather than a streaming service. I don’t mind that, and if it’s possible to purchase the season or individual episodes for on-demand streaming I don’t mind doing that too. Whatever hoops we have to jump through it’ll be worth it to watch Discovery together.
Star Trek: Discovery Season 4, Episodes 1-2 will be available to watch on Pluto TV in the UK, Austria, France, Germany, Italy, Spain, and Switzerland on Friday the 26th of November 2021. The episodes will also stream on Paramount+ in countries and territories where the service is available, and will be available to purchase digitally in the UK and “additional select countries.” The Star Trek franchise 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 fallout from the atrocious and unfair Star Trek: Discovery decision rumbles on. The ViacomCBS share price continues to tumble in the wake of their truly awful decision to piss off most of the fans of their biggest franchise, the rollout of Paramount+ continues at a snail’s pace with no specific launch dates even entering the conversation, and unfortunately we’re now seeing some divisions in the fandom itself, with North American Trekkies pitted against those of us in the rest of the world as arguments break out over the series. What a stinking mess.
At time of writing, both Star Trek: Prodigy and Star Trek: Discovery are “Paramount+ exclusives” all across the world – meaning the shows are locked behind a paywall that fans can’t actually pay for because the incompetently-managed streaming service hasn’t launched in the vast majority of countries and territories. I feel even worse for Trekkies in Australia, Latin America, and Scandinavia in some ways, though, because although Paramount+ has already arrived there, Discovery Season 4 still hasn’t been made available. If you needed any more evidence that ViacomCBS is one of the worst-run corporations in the entire entertainment industry, look no further than that arbitrary nonsense.
The logo of the mediocre streaming service at the heart of all these problems.
But Prodigy and Discovery aren’t the only Star Trek shows in production at the moment. In 2022 Trekkies have been promised Star Trek: Picard Season 2, Strange New Worlds Season 1, and Lower Decks Season 3 at a minimum. In the wake of the truly selfish and awful Discovery decision, however, I can’t help but feel very nervous about each of those shows. Will Trekkies around the world be able to enjoy any new Star Trek in the months ahead? Or will we see repeat after repeat of the Discovery mess?
Strange New Worlds seems all but certain to be denied any kind of international streaming deal. If you’re hoping to see the series hit Netflix or Amazon Prime Video, you might as well forget it – it’ll be a Paramount+ exclusive for sure. What that means in effect is that anywhere in the world without Paramount+ will miss out on Strange New Worlds. That feels like such a sure thing right now that I’d put money on it.
Don’t bet on seeing Captain Pike on your screens next year. At least not through the usual channels…
Currently, Picard Season 2 is scheduled for a February premiere. If the season runs for ten episodes, as Season 1 did in 2020, it’ll conclude sometime in late April or early May, meaning that Strange New Worlds could debut anytime around then – and certainly well before the middle of the year. At present, the UK and parts of Europe are promised Paramount+ in “early 2022” – which could be before the Strange New Worlds premiere, but it could also be long after the show has kicked off in the United States. And unfortunately, many countries and territories in Asia, Africa, and the rest of the world have no planned launch for Paramount+ at all, which means it could be 2023 or later before the service launches there. If it survives that long.
I simply don’t believe the promises ViacomCBS has made of an “early 2022” launch. Paramount+ has been so poorly managed and so incompetently handled by the corporation that a delay to these plans feels inevitable, so I’m not betting on the service launching here before the end of 2022. But even if, by some miracle, ViacomCBS actually manages to launch Paramount+ on time in Europe, that could still mean Strange New Worlds and Picard Season 2 won’t be broadcast simultaneously with North America.
Picard could well be pulled from Amazon Prime Video before Season 2.
As mentioned, Paramount+ has already arrived in Australia, Latin America, and Scandinavia – and it isn’t exactly brand-new, they’ve had it since March. But despite that, Discovery Season 4 isn’t being shown there at the same time as it’s being shown in North America… so even being very generous to ViacomCBS and assuming that the incompetent morons manage to get Paramount+ to the UK and Europe in “early 2022,” that still doesn’t necessarily mean we’ll be able to watch any of the new shows on the damn thing.
As I discussed the other day, ViacomCBS paid Netflix a large sum of money to ensure that Discovery Season 4 wouldn’t be available around the world. If they had done nothing, the show would’ve come to Netflix under existing contracts and licenses – but the corporation chose to intervene, hoping to boost sign-ups to Paramount+ (though the backlash may have actually cost the platform subscribers thanks to a fan-led boycott campaign). What’s to stop ViacomCBS from doing the same thing with Amazon Prime Video, the current home of Lower Decks and Picard?
Will Amazon Prime Video lose its Star Trek shows, just like Netflix?
One of the stupidest and most offensive things about the Discovery decision is that Paramount+ is unavailable across most of the world. If ViacomCBS had pulled Discovery from Netflix because Paramount+ had already launched and they wanted to keep their own shows on their own platform, it would still be frustrating, and the timing would still be awful, but at least there’d be a vague logic to it. But because Paramount+ isn’t even available, the decision has locked the show behind a paywall that no one is able to pay for. Which, as I’ve argued on more than one occasion, means you have the absolute moral justification to pirate the series.
But this kind of decision could well be repeated. I doubt very much that Paramount+ will be available here in the UK by February, in time for Season 2 of Picard. And on current form, there’s nothing to stop ViacomCBS from doing to Amazon Prime Video what they’ve just done to Netflix – pulling the series from broadcast with days to spare. I don’t think it’s safe to assume we’ll be watching Picard Season 2 on Amazon Prime Video… let alone Lower Decks Season 3, which likely won’t be broadcast until later in the year.
Lower Decks Season 3 could also be going exclusively to Paramount+.
Rather than the Discovery mess being a one-time thing, I think as international fans we need to get used to the idea that, at least for the next year or so, watching Star Trek along with our North American friends may not be possible – or at least may not be possible via conventional methods. Picard Season 2 and Strange New Worlds Season 1 feel the most vulnerable, but realistically we’ll soon see the entire franchise disappear behind Paramount+’s paywall – regardless of whether Paramount+ is actually available.
I’d like to be proven wrong, of course, but I fear that this is the direction of travel for Star Trek as we move into 2022. This will not be a move free of long-term consequences for ViacomCBS. The corporation’s share price continues its fall, many Trekkies have pledged never to subscribe to Paramount+, and one of the biggest single pushes toward piracy since the advent of streaming will lead many fans and viewers to realise just how easy it is to pirate the latest episodes – making it even harder for Paramount+ to tempt them back in future.
A decision intended to push fans toward Paramount+ has actually led to piracy – and threats to boycott the platform.
As self-defeating as these plans may be, don’t expect to see ViacomCBS move away from them. And if you’re especially unlucky, living in a region of the world that ViacomCBS has apparently forgotten even exists, it may be the case that Paramount+ never arrives – or if it does it won’t be till 2023, 2024, or beyond. Star Trek has always told stories of people coming together – of a United Earth free from borders and division. But the ViacomCBS board haven’t even watched their own shows, or if they did the message went far over their shrivelled little profiteering heads.
I don’t want to be the bearer of bad news, but as I see it, the Discovery decision is just the first of many. Strange New Worlds, which has never had an international broadcaster announced, will certainly be a Paramount+ exclusive. Picard Season 2 and Lower Decks Season 3 could very easily follow the Discovery model and be pulled from Amazon Prime Video. And the rest of the Star Trek franchise? Currently the older shows are on Netflix, but the films aren’t. However, I wouldn’t bet on being able to watch any Star Trek series next year unless you have the DVD or are prepared to sign up for Paramount+.
The Star Trek franchise 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: The Next Generation.
This is the first in what I hope to be a weekly series over the next few months. In the wake of the Star Trek: Discovery Season 4 disaster – the series has been withheld from fans outside of North America, if you somehow missed the news – I won’t be covering the show at all. Instead I’ll be writing up re-watches of some of my favourite episodes from Star Trek’s extensive back catalogue. This week we’re visiting The Next Generation’s final season to look at the episode Masks.
First up, a brief introduction to this format. I’m not calling these articles “reviews.” It wouldn’t be fair to do so because I’ve seen Masks – and all of the other episodes we’ll be looking at over the next few weeks – more times than I care to remember! This won’t just be a recap of the plot of the episode – I will be giving my thoughts and analysis as we go. But it can’t really be an objective “review,” strictly speaking.
The episode’s title card (from the remastered version).
Masks was one of the last episodes produced for The Next Generation before production shifted to Star Trek: Generations. At this stage we’ve been with the crew of the Enterprise-D for almost seven years and we know them well – so we think we know what to expect. Season 7 tried to shake things up at various points – like in Genesis where the crew all de-evolved! And Masks is kind of in a similar vein. We’ll see the ship transformed, and Data in particular will take on several different personalities.
Masks is one of those episodes that sticks in my mind. The Enterprise-D and her crew found themselves in many wacky and unpredictable situations over the years, but there’s something about the Aztec-inspired aesthetic that really makes what’s going on in Masks feel ancient and otherworldly. It’s a story that feels at home in the Star Trek franchise; the kind of episode no other sci-fi series would even attempt.
Picard and Troi examine a D’Arsay obelisk.
The episode is also a great one for Data actor Brent Spiner, who gets a chance to show off his range as an actor. There’s always seemed to be a disconnect between the character of Data and the personality of the man who plays the role! Data is cool and logical, but Brent Spiner has an almost chaotic energy to him, full of life and with a great sense of humour. Masks isn’t the only episode of Star Trek to give him more to do – look at his roles as Lore and as various members of the Soong family for more examples – but it’s certainly an episode that gives Spiner many opportunities to shake up his regular role.
Data is such a wonderful character, and his series-long quest to become more human saw him attempt to mimic a variety of different behaviours. At the beginning of Masks we see him taking an art class, learning to sculpt and to use his imagination. Because of the largely episodic nature of The Next Generation, even in Season 7 Data is still chasing his ambition of becoming human in much the same way as he had been earlier in the show’s run. The character saw evolution across the series as a whole, but moments like these at the beginning of Masks could sometimes feel like a reset, reinforcing Data’s android nature and showing how he doesn’t fully understand some element or other of what it means to be human.
Data learning about imagination at the beginning of the episode.
I wouldn’t try to argue that Masks is an especially important episode, either for The Next Generation or Star Trek as a whole. It’s great, don’t get me wrong, but it isn’t groundbreaking or transformative for the franchise in the way certain stories can be – it doesn’t introduce new characters, factions, or themes that would carry over to future projects, for example, nor is it a transformative event in the lives of any of the main characters.
But that doesn’t mean it isn’t a fun episode with an interesting premise. In a way, what we have in Masks is an examination of computer viruses and the major cultural and technological differences that exist between cultures. After encountering the D’Arsay archive inside of what appears to be a comet, it transmits its information to the Enterprise-D, but that computer code plays havoc with the ship’s systems – and with Data. Though this computer virus analogy isn’t the episode’s message or primary focus, it’s not a coincidence that a story like Masks was created at this time.
There’s a timely message about rogue computer software buried in Masks.
In 1994, when the episode was initially broadcast, home computing was growing exponentially. Along with the rise of the PC came fears of computer viruses, and antivirus software was becoming a big business. Though Masks mainly considers cultural themes within the story itself, I’d argue very strongly that the premise – disruptive or even malicious software being beamed to the Enterprise-D – is a reaction to the way the home computer market was shaping up at the time.
Computer viruses continue to plague systems today, of course, but with improvements in antivirus software and better computer education, the fears most folks have of viruses has diminished. In that sense, this aspect of Masks feels like a step back in time a quarter of a century – which it is, of course! The idea of rogue computer code harming – or in this case transforming – one’s computer was certainly a relevant concern at the time, though, and although it’s one that the episode doesn’t feature prominently it’s still an interesting aspect.
Riker, Data, and Geordi tried to make sense of the mysterious symbols that began appearing on the Enterprise-D’s computer screens.
Masks also looks at how we deal with cultures very different from our own, and how we need to be careful when interpreting history. Captain Picard is at his best in episodes like Masks, getting the chance to show off one of his real passions – history. Picard is well-placed to jump into the story and find a use for his skills, and is supported at various points by Riker, Troi, and perhaps the most unusual choice – Worf. One of Worf’s lines about the sun and moon proves crucial to unlocking the mystery of the archive, and while Captain Picard definitely needed others around him in these scenes, I’m not sure I’d have chosen Worf!
The struggle that Picard and the others had of trying to interpret an unfamiliar culture is one that historians and anthropologists have long dealt with. And to me, Masks is an example of Star Trek doing what it has always done: using a sci-fi lens to examine a real-world subject. Usually the stakes aren’t so high, of course, but putting a kind of ticking clock and threat in the background gave the story an impetus it would’ve otherwise lacked; had Picard and the crew simply been trying to learn about the D’Arsay symbols and characters out of curiosity, the story wouldn’t have gone anywhere.
Picard had to draw on his knowledge of history and anthropology to solve the mystery of the D’Arsay archive.
On the technical side of things, Masks was one of the first Star Trek episodes to use computer-generated imagery (CGI), using the new technology for the comet and D’Arsay archive. The remastered version, which is what you’ll find on blu-ray and streaming – didn’t preserve the original CGI model, recreating the archive from the ground up based on the original design. The DVD version, however, and other older copies (like VHS) do still have this piece of Star Trek’s history. You can also find images of the original CGI model online, of course.
A few times across The Next Generation, sped-up shots would be used to show Data working or moving faster than a human could. Out of everything present in Masks, this short sequence (which shows Data sculpting a treble clef in his art class) is perhaps the only part that feels dated in 2021. The rest of the episode’s effects hold up remarkably well, and the remastered CGI sequences look great even on a modern 4K display.
This shot of the Enterprise-D melting a comet with its phasers is pretty darn cool.
Many times across Star Trek’s long history there have been so-called “bottle shows.” These are episodes which primarily use existing sets and often don’t bring in many new characters or guest-stars, focusing on just the main cast. Though there was a set built for Masks – the temple, which would later be re-used in Deep Space Nine – the episode is mostly a bottle show, or perhaps a semi-bottle show! It focuses on a handful of characters, mostly re-uses existing Enterprise-D sets – with a few additions and changes to reflect the transformation the ship is undergoing – and feels like a very self-contained story in that respect.
Given Data’s prominent role, Brent Spiner is the star of Masks. And while we see elements of his portrayal of Lore in one of the personas that Data assumes, for the most part he makes each of the D’Arsay characters feel unique and distinctive. For an actor who spent most of The Next Generation’s run playing a very unemotional, unreactive character, I can quite understand why Brent Spiner would describe Masks as one of his biggest acting challenges on the show. I think he rises to the occasion and shows off a range that any actor would be proud of; making each persona feel separate despite only minor costuming changes is no mean feat, and he pulled it off very well. There was a risk, perhaps, that in order to differentiate each of the D’Arsay personas in such a short runtime each would have to be exaggerated to the point of pantomime caricature, but that didn’t happen in the final episode. That alone should be testament to Brent Spiner’s talents and hard work.
Data actor Brent Spiner had to take on several different personas in Masks.
There are a few lines from Masks that resonate with me from a mental health standpoint. Though the episode isn’t intended as an examination of mental illness, Data developing an android version of “multiple personalities,” as Troi puts it, does bring up some comparisons. When Data asks Geordi what it feels like to lose one’s mind is a line that very much struck a chord with me, not least because it’s a question I’ve asked myself (and doctors) in the past.
Data’s line as the episode draws to a close about feeling “empty” following the removal of the D’Arsay personalities likewise felt very relatable. It isn’t always easy to tell where the line is between one’s own personality and aspects of oneself that might be better characterised as manifestations of mental illness, and even the removal or lessening of a mental health symptom can, in some cases, bring with it a feeling of emptiness or of feeling incomplete. That’s definitely a second thing I find relatable – and I think it shows how stories which only touch on themes of mental health can still be impactful even if mental health isn’t the focus.
Data on Masaka’s throne.
The only real criticism I have of Masks is that its ending feels a little too quick – almost abrupt, really. After a slow buildup which sees the Enterprise-D progressively transformed to resemble the D’Arsay culture, Picard has a short conversation with Masaka, and then after a quick “woosh” everything is un-transformed and back to normal. A quick epilogue with Data and Picard in the ready-room closes the episode, and the final few minutes just feel a little rushed, especially considering the deliberately slow pacing of the rest of the episode.
Despite that, I enjoy Masks. It isn’t my all-time favourite episode of The Next Generation, but it’s one of those solid standalone stories that Star Trek does far fewer of since the move to serialised story arcs and shorter seasons. Masks shows off a different kind of science fiction with its slightly wacky concept of an archive transforming the ship into stone artefacts, but at the same time it’s a story that’s grounded in real-world parallels of history and anthropology. Brent Spiner puts in one of his finest performances, taking on a variety of personas that force him to step well outside of his normal bounds as Data.
So I hope this was a bit of fun. My objective at the moment is to remain connected to Star Trek and the Star Trek fan community but without providing any support or coverage of Discovery in light of the awful decision from ViacomCBS. Later this week I hope to look at an episode from Star Trek: Enterprise, and I already have dozens of other ideas for episode re-watches as we move through the holidays and into 2022.
Star Trek: The Next Generation is out now on blu-ray and DVD, and is available to stream on Netflix outside of the United States (at least for the time being). 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.
The Star Trek: Discovery Season 4 catastrophe isn’t going away anytime soon for ViacomCBS. In the days since they dropped a clumsily-worded statement that simultaneously broke the bad news to Trekkies around the world and tried to push sign-ups to Paramount+, the anger in the fandom has not abated. At time of writing, ViacomCBS shares are worth more than $2 less than they were before the announcement – a drop of more than 6%.
That brings us to the #BoycottParamountPlus discussion that has been doing the rounds in some quarters of the Star Trek fan community. In light of the decision by ViacomCBS to pull the show from Netflix internationally, some Trekkies have responded by saying they’re either boycotting Paramount+, cancelling their subscription to the service, or that they will refuse to sign up for it whenever ViacomCBS can be bothered to make it available in their part of the world. Today I wanted to consider the discussion around boycotting Paramount+, boycotts in general, and how fans can and should register their anger, upset, and frustration with a corporation like ViacomCBS.
Some fans are advocating a boycott of Paramount+ in response to the Discovery fiasco.
There are many reasons why folks – even big Trekkies like yours truly – might be wary of signing up for a service like Paramount+. The platform has not been particularly well-received in markets where it has been available, with complaints ranging from technical issues and video quality to a lack of content. At one point, all of the Star Trek films disappeared from Paramount+ with only a few days’ notice due to licensing conflicts with a different streaming platform – despite the fact that ViacomCBS owns the rights to the Star Trek films.
There’s also the cost involved. The “basic” plan, which currently costs $4.99 per month in the USA, comes with advertising. The “premium” plan ditches the commercials, but clocks in at double the price – $9.99 per month in the USA. That makes Paramount+ actually more expensive than Netflix for a comparable service, as Netflix’s cheapest plan in the USA doesn’t run any adverts and costs $8.99 per month.
Paramount+ ain’t cheap.
Paramount+ is not competitively priced, then. It’s more expensive than the big three streaming services (Netflix, Amazon, and Disney+) and though it does offer some content that the others don’t – such as live sports – its content as a whole is lagging behind. So even being as generous as we can, Paramount+ feels like poor value for what is clearly a second-tier platform.
But all of this talk of costs is rather beside the point. People who can’t afford Paramount+ won’t pick it up, and folks who can perhaps afford one or two streaming subscriptions may have to choose whether to pick up Paramount+ or an alternative. It’s all moot right now here in the UK anyway, because Paramount+ is unavailable, but I wanted to at least acknowledge that the streaming service isn’t particularly competitive with its pricing.
Paramount+ is more expensive than Netflix… and worse.
On an individual level, I can fully understand the response fans have had to ViacomCBS and to Paramount+. The anger and frustration I’ve seen expressed on social media resonates because it’s exactly how I feel, too. The decision the corporation made was horrible, and to cap it off it was announced in the most offensive and callous way possible. No apology has been forthcoming, and ViacomCBS’ marketing and social media teams are apparently burying their heads in the sand, trying to ignore the pushback.
The lack of communication from the corporation is something that I find deeply offensive. Their original message was not contrite or apologetic, and seemed designed to present what they knew would be an upsetting, anger-inducing move as some kind of net positive for international Trekkies. Combined with the marketing doublespeak and the pushing of Captain Burnham’s “Let’s Fly” catchphrase to sign off, the way they chose to communicate this decision was awful.
And as we covered the other day, the timing of this move almost seems to have been designed to inflict maximum hurt on Trekkies, coming 48 hours before Discovery Season 4 was due to premiere. They did this, it seems, for two reasons: so that a major Star Trek convention in London earlier in November wouldn’t be overshadowed by this news (particularly with several Discovery cast members in attendance), and also, if I put on my cynical hat for a moment, ViacomCBS knew that dropping this news with mere hours to go before the season premiered would prevent fans from having time to organise any kind of pushback.
The #BoycottParamountPlus hashtag and movement emerged from the Discovery debacle, but it’s in no way an organised thing right now. And with Season 4 already underway in the United States, practically all of the big Star Trek fansites and social media channels have begun their coverage of the show. Even if fans were able to organise a protest of some kind in the next few days, from the corporation’s perspective things have gone about as well as possible. They succeeded at pulling the show from Netflix, they’re forcing people to pay for Paramount+ with no alternative options, and the fan reaction has been significant, but disorganised.
Star Trek fans are disorganised right now.
I used to work in marketing, and unfortunately, the way corporations see these kinds of social media campaigns is very dismissive and negative. ViacomCBS will have expected a degree of pushback, but they also knew that by making the announcement at the last possible moment, any pushback would be disorganised during the crucial first few days after the season debuted. They’re also counting on fans having short memories, so that by the time Paramount+ rolls out in 2022 (or later, because let’s be honest they aren’t exactly competent so we can’t rely on their planned schedule) the controversy will have died down and even the most ardent critics will still sign up.
And if history is much of a guide, they’re probably right about the latter point. Look at past examples of fans pushing back against corporate decisions. Over in the Star Wars franchise, for example, The Last Jedi was so utterly detested by some fans that they swore they’d never watch anything from the franchise ever again. A heck of a lot of those folks are currently loving The Mandalorian and are excited for other upcoming projects. Even when dealing with topics more important than entertainment, like political issues, it’s increasingly true that all someone has to do is survive and keep their head down for a few days and wait for the source of controversy and its resultant outrage to blow over. Here in the UK we can point to politicians who were caught breaking coronavirus lockdowns who are still gainfully employed, and that’s just one example.
The response to The Last Jedi was negative for Disney at first, but many fans have since returned to the franchise.
One of the main counter-arguments people have been putting forward in response to suggestions of an organised boycott of Paramount+ is that they want to support the series and the hard work the creative team put into making it. I can understand that point of view too, especially coming from those fans who have a creative background themselves. Many of these folks are also ardently opposed to any form of piracy.
But I do want to ask a question: how else are fans supposed to express themselves? If a corporation misbehaves, as ViacomCBS has to put it mildly, how are fans supposed to respond to show their disgust? We can write all the tweets and articles we like, of course, but that has a very minor impact on the corporation overall. Hitting them in their finances is where we can actually hurt them, and if fans make it clear that the reason Paramount+ is losing subscribers or not signing up new ones is because of the Discovery fiasco, then perhaps they’ll sit up and take notice.
A visual metaphor.
However, there is, as the saying goes, more than one way to skin a cat. I mentioned ViacomCBS’ share price at the beginning of the piece because it’s relevant to this conversation. The short-term impact of the Discovery controversy has knocked the value of shares down by a significant amount, and that could continue in the days and weeks ahead. Whether we boycott Paramount+ or not, the corporation is already being kicked in the wallet for this decision. I hope that brings a smile to your face – it certainly did for me.
What I would have liked to see, had there been more time in the wake of the announcement to organise such a thing, would have been a blackout from all of the big fansites and social media channels: a promise not to cover Discovery Season 4 at all until it became available worldwide. Even shutting down discussion of the show for a single week would have a huge impact and would be symbolic of the fandom coming together.
A total communications blackout would send a powerful message.
In my own small way here on my minor slice of the internet, that’s exactly what I’m doing. I could write reviews of the Season 4 episodes – I’ve already seen the premiere. And I could continue to write up my theories because I’ve got dozens swimming around in my head. If I threaten to boycott Paramount+, ViacomCBS knows I’m just one person and they’ve only lost one potential customer. But by refusing to talk about the show at all, the hype bubble around Discovery is ever so slightly deflated. Fewer people talking about the show has an impact – and if we could expand that and get a proper blackout going, then I think ViacomCBS would realise how badly they’ve screwed this up.
It will never happen though, unfortunately. Many of the big Trekkie websites and social media channels work hand-in-glove with ViacomCBS, getting advance screenings, press kits, and even freebies from the corporation. Very few outlets would be willing to lose their access and their privileges, which is why we’ve seen some messages from these folks sound rather tokenistic, I’m sorry to say. I don’t want to cast doubt on anyone’s sincerity, but it kind of smarts when they’ll express their upset in one tweet and then promote their latest review or show off their exclusive pass to the virtual premiere in the next.
I can’t see a big shutdown like this ever happening.
To get back on topic, I can’t tell you what to do. If you want to boycott Paramount+, cancel your subscription, or tell ViacomCBS you’re never paying for Star Trek again, go for it my friend. It’s as good a way as any of getting “revenge” for the offensive way we as international Trekkies have been treated. But if the thought of boycotting upsets you or you want to support the cast and crew, know that the outrage that has been expressed over the past few days has already had a noticeable financial impact on ViacomCBS.
Speaking for myself, if Paramount+ were available to pre-order here in the UK, I wouldn’t. Not right now. And in my own way I’m registering my protest. Refusing to discuss the series, even if only on my own small slice of the internet, is my way of telling ViacomCBS how I feel about the decision they made and the callous way they went about announcing it. But I don’t think we need to get at each other’s throats about this boycott idea. Some fans are up for boycotting, others aren’t. Both points of view have merits and demerits, but the one thing we need to try to do as a fandom right now is come together. Fighting amongst ourselves over what to do about the situation won’t resolve anything – it’s already happened and it won’t be undone. We have to try to move forward together.
For my part, I won’t be posting any spoilers about Discovery Season 4 here on the website – beyond what I’ve already discussed prior to the season premiere, which was only based on teasers and trailers. So you can consider this website a safe space between now and February. I wish I had better news or a better idea of how to fix things, but the reality is that Discovery is ViacomCBS’ product and as consumers, we’re stuck. All we can do is register our protests in whatever way we can. It’s up to you how you protest this decision.
This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There may be minor spoilers for some of the shows on this list.
The person who coined the phrase “there’s no such thing as bad publicity” evidently never met the marketing team at ViacomCBS. The Star Trek: Discovery clusterfuck continues to damage the company, the Star Trek brand, Paramount+, and everything else it touches, with Discovery’s fourth season now being soiled, stinking of shit even for those fans in North America who’ve been able to sit down and watch it.
Whether you’re pirating Discovery Season 4 or not – and honestly, you’re 100% morally justified in doing so if you choose to – I thought that today we should consider some alternatives. Maybe you’ve decided not to pirate the series, or to wait and see how things go. Or maybe you’re still so darn mad at Discovery that watching it wouldn’t feel appropriate right now. So let’s take a brief look at ten television shows that you could watch instead. I’ll try to keep spoilers to a minimum!
Oh, and if you’ve tuned in looking for my weekly Discovery Season 4 reviews or theories, I’ve made the reluctant decision to put those on hold for the time being due to what’s happened.
Number 1: The Wheel of Time
Promotional image for The Wheel of Time.
The Wheel of Time premieres today, so I can’t claim to have watched it for myself at time of writing! But Amazon has invested heavily in this fantasy epic, one which is based on a long-running series of novels by Robert Jordan and Brandon Sanderson. It’s been a long time since I read any of the books (and I didn’t come close to finishing the set) but from what I remember, The Wheel of Time has a complex story full of magic, wonder, and nuanced characters.
Several big-budget fantasy shows were commissioned in the aftermath of the success of Game of Thrones, and initial reviews of The Wheel of Time sound promising. I’ve been looking forward to watching the show all year, and it’s finally here! The first three episodes are being made available at the same time as a kind of extended premiere, with the remainder of Season 1 following on a weekly basis. This could be a great replacement for Discovery between now and Christmas.
Number 2: Foundation
Jared Harris and Lou Llobel star in Foundation.
One of Apple TV+’s first big-budget shows, Foundation has been interesting to follow across its first season. Is it perfect? No, but for an adaptation of a very dense series of books that I would’ve considered borderline unfilmable, I think the series makes a creditable effort to bring the story to screen.
Foundation stars Jared Harris in a key role, and he’s an absolutely fantastic actor who brings a lot to the series. At time of writing there’s one episode left in Season 1, and a second season has already been confirmed for next year.
Number 3: The Expanse
Several of The Expanse’s main cast aboard the Rocinante.
The Expanse is one of the finest science fiction TV shows I’ve ever seen outside of the Star Trek franchise. Its world-building is absolutely fantastic, showing us a look at a near-future where Mars and parts of the asteroid belt have been colonised, but where faster-than-light travel and many other common sci-fi technologies don’t yet exist.
Originally debuting on the SyFy network, The Expanse was later picked up by Amazon following a fan campaign. There are five seasons already, with a sixth and final season scheduled to premiere next month – so you’ve got time to binge the show and get caught up!
Number 4: Firefly (and Serenity)
The main cast of Firefly.
The big caveat with Firefly has to be that the show was never given a chance to live up to its full potential, being cancelled after just one season. But the feature film Serenity brought the cast back and provided the story with closure (of a sort) so it’s absolutely worth watching if you haven’t seen it already.
Firefly brought to screen a uniquely western-themed sci-fi universe that felt truly real and lived-in in a way few franchises manage to do. It’s positively criminal that one season and one film are all we ever got – but what a fantastic season it was!
Number 5: Fortitude
Several members of the Fortitude Season 1 cast.
We’re returning to Earth for this entry on the list! I thought I knew what to expect from Fortitude when I sat down to watch the show. It’s set in a small town in the Norwegian arctic, and I was expecting it to be a fairly standard crime drama. But the show took a series of turns, going from crime to mystery to thriller and even touching on horror and science fiction.
It’s hard to explain Fortitude without spoiling it – and I would say that some of its storylines go a bit wild toward the end. But if you get stuck into it, as I did, you’ll have an amazing time.
Number 6: Star Trek: Picard
Sir Patrick Stewart reprised his famous role last year.
Chances are if you’re reading this you’re a Trekkie and you’ve already seen Picard Season 1. And I would absolutely understand if the Discovery debacle has soured you on Star Trek at the moment. But whether you missed Season 1 or just haven’t seen it since it was broadcast in early 2020, it’s a fine drama series worth going back to.
Remembrance, the season premiere, is one of the finest episodes of Star Trek – and one of the finest episodes of television in general – that I’ve ever seen. The season’s story builds slowly to a conclusion that was, unfortunately, more than a little rushed, but if you can look past the imperfections present at the story’s end, Picard Season 1 is a fun Star Trek adventure.
Number 7: The Mandalorian
Mandy the Mandalorian.
I have to confess that I’m not wild about The Mandalorian. It’s okay – and it contains some great action set-pieces and moments of drama. But my disappointment stems from the fact that the show’s promised “different look” at the Star Wars galaxy kind of fell by the wayside due to the inclusion of too many elements from the films.
Despite that, The Mandalorian has some great moments, and is well worth watching for any Star Wars fan. Two seasons have been put to screen thus far, though I’d argue that their short runtime and serialised story means you only really get one full season’s worth of content. Two spin-offs and a third season are coming next year, so if you’re not caught up on Star Wars yet, now could be a good moment!
Number 8: The Falcon and the Winter Soldier
The titular duo.
I’m not the world’s biggest Marvel fan, but this miniseries on Disney+ was less about superheroes and was more of an action-adventure romp with the titular characters. There were callbacks to a lot of previous entries in the Marvel Cinematic Universe, but even as someone who doesn’t follow the MCU religiously I found the series approachable.
The Falcon and the Winter Soldier tells a largely self-contained story, and it was one that aimed to be uplifting as well as entertaining. I published a review of the miniseries a few months ago, and you can find it by clicking or tapping here – but beware of spoilers!
Number 9: Chernobyl
“Not great, not terrible” would be a bad way to describe 2019’s Chernobyl.
Chernobyl was a sensation when it was first broadcast in 2019, and for good reason. The miniseries, which documents the 1986 Chernobyl nuclear disaster, is one of the finest ever put to screen. This is a story you’re probably at least vaguely familiar with, but Chernobyl goes into detail, looking at the disaster from all angles.
I find it hard to say anything negative about Chernobyl at all; as both a work of drama and a serious historical piece it’s perfect. It even contains a great scene explaining the basics of how a nuclear reactor works!
Number 10: The Center Seat
Logo for The Center Seat.
The History Channel is currently a couple of episodes into its documentary all about the Star Trek franchise. There will be eight more episodes over the coming weeks, documenting the history of Star Trek from the production side going all the way back to Gene Roddenberry’s initial pitch for the series in the early 1960s.
I love a good documentary, and as the Star Trek franchise celebrates its fifty-fifth year, why not take a look back? As Trekkies we should aim to be knowledgeable about the production of the franchise we love, and The Center Seat aims to present its history in an easily understood form.
So that’s it. Ten shows to watch instead of Star Trek: Discovery Season 4.
I think a lot of Trekkies feel the way Book’s feeling right now.
Those are words that I never thought I’d have to write. Discovery’s fourth season had been my most-anticipated television show of 2021, and even now that we’re a couple of days out from the news that we wouldn’t be getting the series, the sense of disappointment and anger with the corporate morons in charge of ViacomCBS remains. But I hope, after a couple of days of outright negativity, this list has been a bit of a break.
Each of the shows above are absolutely fantastic in their own ways, and while it’s true that nothing can fully replace Star Trek: Discovery for a big fan of the series, hopefully you’ve found a few ideas to at least take your mind off things. Social media has been reflecting the outrage directed at ViacomCBS over the past couple of days, and while there’s nothing wrong at all with registering your disgust with the way that the corporation has behaved, please keep in mind that the actors, directors, and other behind-the-camera crew had nothing to do with this decision. In many ways, it harms them too because it’s tainted their hard work and left even North American Trekkies feeling upset and angry. Negativity and division within the Star Trek fandom is never a good thing. It’s such a shame ViacomCBS chose to inflict it upon us on this occasion.
All television series mentioned above are the copyright of their respective owner, network, broadcaster, streaming platform, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
It’s been 24 hours since ViacomCBS clumsily dropped the news that Star Trek: Discovery Season 4 will be kept away from international audiences. The resultant PR disaster has caused significant harm to the corporation’s reputation, as well as that of its streaming service, Paramount+. Once my anger at the situation had simmered down, I became mired in thought. I had a whole series of articles planned here on the website about Discovery: episode reviews and theory posts twice a week, as well as keeping space open for other occasional discussion pieces about the series over the next three months. Should I put all of that on hold for now, even though Star Trek and writing are two of my biggest loves? Or should I power through despite knowing that, even in my small way on my minor slice of the internet, I’m promoting and drawing attention to a series and a company that I just don’t want to support right now?
I’m not one of the big Star Trek fan sites… obviously. I don’t have a huge audience who’d feel let down if my reviews weren’t around, or conversely who would feel the need to mute me or unsubscribe if I carried on posting about a series they aren’t able to watch. So the decision is mine alone, and I confess I’m struggling with it.
What to do?
I feel absolutely morally justified in pirating Discovery. ViacomCBS has willingly chosen to remove the series from distribution here in the UK and around the world. They actively spent money to buy out Netflix’s share in the series so that Netflix wouldn’t be able to broadcast Discovery internationally. Just to reiterate that last point, because I think it’s an important one that’s gotten lost in the heated discussion: if ViacomCBS had done nothing, Discovery would have been broadcast internationally. This isn’t a case of failing to agree licenses in time or broadcast rights expiring, they actively and willingly chose to remove the series from broadcast, and they paid money out of their own pocket in order to ensure it wouldn’t be available to international fans.
Not only that, but in some countries where Paramount+ is available – such as Australia, for example – Discovery Season 4 is still not going to be available to stream. You read that right: Australian Trekkies who’ve already subscribed to Paramount+ and paid for it still won’t be able to watch Discovery Season 4, as will any other Trekkies outside of North America whether they have Paramount+ in their country or not. Why? Because ViacomCBS loves arbitrary bullshit, it seems.
“That is one big pile of shit.”
So I feel all of us outside of North America have the moral high ground and the absolute right to pirate Discovery – and the rest of Star Trek too. When a corporation voluntarily chooses not to share their creation, piracy becomes the only way to access that content. When a film, game, or television series is available to purchase, stream, or rent, I think the vast majority of folks would agree that the moral thing to do is pay to enjoy it. But when that option is taken away, there is only one remaining option – and from a moral, ethical, and philosophical point of view I see no reason at all why international Trekkies shouldn’t pirate Discovery Season 4.
This is not the choice that I would have made. I’m a Netflix subscriber and an Amazon Prime subscriber. I first signed up for Netflix in 2017 specifically because Discovery was about to be available there; Netflix earned my subscription because of Star Trek. Over the past four-plus years I’ve paid my dues on both platforms where Star Trek is available, and if CBS All Access and/or Paramount+ had been made available here in the UK I’d have signed up for them in a heartbeat.
Trekkies were offering ViacomCBS our money… but they didn’t want it.
I’m a Star Trek fan. I want Paramount+ to succeed because I want Star Trek to succeed. I want as many people as possible, from casual viewers and total newbies to hardcore fans like myself to be able to watch Star Trek – and to pay to watch it. That’s the only way Star Trek will succeed in the medium-to-long term, and that’s the only way that the franchise’s future will be secure.
But this transactional approach is not a one-way street. It isn’t good enough for ViacomCBS to insist that fans pay to sign up to their mediocre second-tier streaming platform – and then make sure the vast majority of fans can’t because it isn’t available. It isn’t good enough to roll out Paramount+ to countries like Australia and then tell fans they still can’t watch a show that others can.
ViacomCBS has created a paywall that no one can pay for because the corporation is run by incompetent morons.
In 2021, this kind of gatekeeping is simply not acceptable. Segregating the Star Trek fanbase by geography, deeming some “worthy” of being able to watch the latest shows and others not, is not only unacceptable, it’s the complete antithesis of everything Star Trek as a franchise has always stood for. What happened to infinite diversity in infinite combinations? What happened to the dream of a better, more egalitarian world? What happened to United Earth – a place where national borders have no meaning? The answer is that it was all nonsense in the eyes of Star Trek’s corporate overlords, mere words that they don’t believe in yet were happy to sell to anyone stupid enough to pay. Star Trek is a corporate product – that’s the only way ViacomCBS sees it, bankrupt of any real-world meaning or creativity.
All that the corporation cares about is profit – yet they’re so blind, thinking purely about the short-term, that they can’t see how this pathetic, awful approach is going to cost them a hell of a lot more money than it will ever bring in.
Let’s be blunt. Paramount+ will never be Netflix. It will never be Disney+ or Amazon Prime Video either. The platform arrived on the scene ten years too late, plagued by technical issues, running some of its biggest shows in DVD quality, lacking new original content, seriously mismanaged, and with an international rollout that would make a snail riding a sloth look like Usain Bolt. Paramount+ might survive the streaming wars, but even if it does it will forever be a second-tier platform, the kind that people subscribe to for a few months out of the year to watch a show or two and then cancel.
Paramount+ will only ever be a mediocre second-tier streaming service.
From the moment CBS All Access was conceived in the mind of some ageing corporate moron it was fighting an uphill battle. Netflix was already dominant in the streaming realm, and it seems to me that some halfwit with little to no understanding of streaming or the internet looked at the money that Netflix was making, then looked at CBS’ modest library of television shows and said “make me my own Netflix.” The fact that CBS All Access had to be rebranded less than three years after it launched was already a bad sign.
Now called Paramount+ and supposedly bolstered a little by the re-merging of Viacom and CBS, the service continues to flop around like a dying fish. Paramount+ must be run by the most incompetent team of morons any corporation has ever assembled when you consider its track record. Lower Decks Season 1 didn’t get an international broadcast. Prodigy Season 1 didn’t either. All of the Star Trek films disappeared for several months because of licensing conflicts with another streaming platform. Prodigy’s broadcast schedule makes no sense. And now Discovery Season 4 is being pulled from Netflix – and ViacomCBS is willingly spending money in order to pull it from Netflix – months or perhaps even years before Paramount+ will be available internationally.
I guess it’s some kind of visual metaphor…
It’s so disappointing to see ViacomCBS mishandle and mangle their biggest franchise. How can Star Trek have a shot at success with this team of corporate fuckwits running it into the ground at every opportunity? If Paramount+ fails in the years ahead, and drags Star Trek down with it, it won’t be the fault of the writers, producers, and actors across the various shows. It’ll be entirely the fault of a corporate board who haven’t got a clue what they’re doing and who don’t understand the most basic realities of running an entertainment company in 2021.
We live in a connected, globalised world. ViacomCBS (and their corporate predecessors) pushed hard to create this world because it means more profit. More Star Trek fans equals more revenue equals more profit. But the global, interconnected fandom that ViacomCBS has created means that the internet – our primary communication tool – is going to be awash with spoilers. Even the most ardent Trek-avoider would be hard-pushed to steer clear of everything Star Trek-related online, especially if they have friends within the fandom.
We live in a connected world.
YouTube channels, websites, and social media will be drowning in spoilers, making the dilemma that much more tricky for the Trekkie with a moral compass. If they decide to be patient and wait it out, despite ViacomCBS not actually providing anything close to a specific timeframe – “2022” could mean January or it could mean December, and I don’t believe for a moment that the hapless fuckwits will be able to deliver the rollout on time anyway – chances are sooner or later they’ll stumble upon a spoiler, or be served up spoilers on a plate by an algorithm. Some websites and social media outlets have pledged to tag any spoiler material, but even then it’s still highly likely that things will slip through the cracks.
Over the past 24 hours I’ve been continuously trying to think of ways to try to mitigate the situation, given that the Netflix decision is clearly final. One compromise could have been to simply delay Discovery Season 4 for everyone – including North American viewers. Waiting until next year would mean we could all watch the series together. But that won’t work.
The decision to pull Discovery from Netflix appears to be final.
The painfully slow rollout of Paramount+ is going country by country and region by region, with many parts of the world having received no information about if or when the platform will be available. In the UK at least we know that there’s a target: 2022. Many countries, such as Japan, don’t even have that. So this idea – while well-intentioned – would either delay the series indefinitely, and certainly well beyond the end of next year, or still end up shutting out a huge number of fans and viewers.
So that brings us to the Trekkie’s dilemma. The way I see it, if you’re outside of North America (which 95% of the planet’s population are, lest we forget), you have three options: wait patiently for ViacomCBS to decide that you’re allowed to watch Discovery, use a VPN to trick Paramount+ into thinking you’re in North America, or pirate the series.
A map of the world according to ViacomCBS.
The first option is what the corporate morons assume everyone will do. That isn’t true, of course, and the PR clusterfuck of the last 24 hours will seem like nothing when Discovery rockets to the top of the most-pirated shows list next week. I think we can expect to see some significant share price falls for ViacomCBS over the coming days and weeks – I certainly wouldn’t be investing in ViacomCBS stock if I were you.
The second option is the worst of the bunch. Not only are you having to jump through hoops to watch Discovery, but you’re paying ViacomCBS for the privilege. They’ve slapped you in the face, and in response you’ve pulled your wallet out and slipped them some cash while saying “do it harder next time, daddy.”
The third option is the one I daresay many Trekkies will avail themselves of. With a tiny amount of effort it’s possible to find any film or television show online, either to stream or to download, and in 2021 if ViacomCBS doesn’t know that then they’re even more out of their depth than I thought.
ViacomCBS is pushing people to take the third option: piracy.
ViacomCBS has encouraged all of us to sail the high seas.
I’m going to watch Discovery Season 4. Interpret that however you’d like. But I’m not going to cover the series extensively here on the website. Rather than individual episode reviews, what I’ll probably do is write up a full season review at the end as a single article. And Fridays, when my Discovery Season 4 reviews would’ve been published, can instead be dedicated to write-ups of older episodes of Star Trek – something I’ve been meaning to do more of here on the website for a while. I’ll pick thirteen Star Trek episodes from the franchise’s extensive back catalogue and write about those instead.
I don’t want to give ViacomCBS or Star Trek: Discovery any more attention at the moment. The corporation has chosen, for utterly inexplicable reasons, not to share the series with its most ardent supporters, so I refuse to do anything to support the show right now. I feel sorry for the actors, directors, and the rest of the creative team, because their incredible hard work under difficult circumstances during the pandemic is now soiled by this truly disgusting corporate mess. But I can’t in good conscience publish weekly reviews, theories, and other discussion pieces drawing attention to the series when I so fundamentally disagree with the way ViacomCBS has conducted itself.
I’m going to go back and re-watch some earlier Star Trek episodes and write about those instead.
I opened my wallet and offered ViacomCBS my hard-earned cash. I’ve paid for two streaming platforms in order to watch Star Trek. I’ve bought the merchandise. I provide the Star Trek franchise and Paramount+ free publicity here on the website simply by discussing the various shows. My website has an American audience, so I know for a fact many of the folks who read my reviews and theories are engaged with Paramount+. But this relationship has turned toxic, and even though I was offering ViacomCBS my cash, my time, my effort, my passion, and my attention, they chose to throw it back in my face. They told me to go fuck myself, so I’m returning the favour.
What should you do? I can’t answer that. Your conscience has to be your guide. Are you confident in your ability to avoid spoilers for the next few months? If you live in a region without a Paramount+ release window, are you okay with the idea of waiting perhaps two years or more to watch the show? I can’t officially condone or encourage piracy – it’s almost certainly breaking the rules wherever in the world you happen to be. But from a philosophical point of view, if you’re a Trekkie outside of North America I think you’re absolutely morally justified in pirating the heck out of Discovery – as well as every other Star Trek show and ViacomCBS production.
I would usually put a disclaimer here saying that the Star Trek franchise 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 message above was posted on social media earlier this evening. What follows is my immediate response – a somewhat unstructured, angry response. For a more structured argument about ViacomCBS’ mishandling of the Star Trek brand internationally, check out this article.
I cannot believe what I just read. Star Trek: Discovery’s fourth season is not going to be made available on Netflix outside of the United States, and will only be available for international viewers sometime next year when Paramount+ arrives. I’m still digesting this truly awful news.
Over the last couple of weeks I’ve had a go at ViacomCBS – the corporation which owns and mismanages the Star Trek brand – for refusing to make Star Trek: Prodigy available internationally, despite that show being a co-production between CBS Studios and Nickelodeon… a ViacomCBS-owned channel that’s available in more than 70 countries around the world.
This Discovery news comes after Prodigy has been denied to international fans. Lower Decks Season 1 was also denied a simultaneous broadcast internationally, arriving almost six months later. So I can’t be alone in asking what the fuck ViacomCBS thinks it’s playing at. Are they trying to encourage piracy? Do they just not care about Star Trek? Perhaps they want to do as much harm as possible to their own brand, and that of their mediocre second-tier streaming platform at the heart of these problems: Paramount+.
ViacomCBS is desperately but incompetently pushing Paramount+.
To make this announcement less than 48 hours before Discovery’s fourth season was due to premiere is beyond insulting. It’s the latest and most egregious “fuck you” in a long line going back a couple of years at least from a corporation that doesn’t give a damn about Star Trek’s sizeable international fanbase.
Not only is Season 4 not going to be available on Netflix, but Seasons 1-3 have been pulled – or will shortly be pulled – from the streaming service as well, gated off behind a paywall that doesn’t exist because Paramount+ isn’t available here in the UK (and elsewhere) yet. It is at least possible to get the first three seasons of the show on blu-ray, so fans who want to watch or re-watch earlier seasons will be able to do so that way. But Season 4 isn’t available… or at least it isn’t available via conventional methods.
Perhaps this is some kind of visual metaphor?
When corporations choose to become gatekeepers and refuse to share the content that they’ve produced with fans who are literally holding their wallets open screaming “take my money!” then piracy, by default, becomes the only option to access that content. Discovery actually will be available internationally, because this is the 21st Century and most folks have internet access. With a tiny amount of effort it’s going to be possible to pirate every episode of the show, allowing fans to enjoy Discovery while ensuring that ViacomCBS doesn’t see a single measly cent by way of profit. That isn’t the decision fans made, it’s the choice ViacomCBS made.
Star Trek became an international franchise at the behest of ViacomCBS and its corporate predecessors. They advocated this kind of corporate globalism because – like the greedy little Ferengi they are – they saw profit beyond America’s borders. There are Trekkies from Tierra del Fuego to St. Petersburg because globalism proved so attractive for ViacomCBS, but the corporation has once again proved beyond any doubt that it doesn’t give even the tiniest of fucks about anyone outside of North America.
Leaked photograph from the ViacomCBS boardroom.
So as I said a couple of weeks ago about Prodigy: it’s totally morally justifiable to pirate it. Go right ahead and pirate Prodigy, and pirate Discovery too. ViacomCBS has told us to keep our money and fuck off, so let’s make sure they don’t ever see another penny of it. What’s the point in continuing to support a corporation that leaves its international fans out in the cold because it can’t manage the incredibly basic task of broadcasting a television show?
Broadcasting and streaming is ViacomCBS’ entire business model – yet time and time again they fuck it up. Paramount+ is a mediocre platform at best that will never be the Netflix and Disney+ competitor that its corporate masters wish it to be. It arrived on the scene a decade too late, with too little original content, and its rollout even within the United States has been horribly mismanaged by a corporation that appears to be run by absolute morons. Paramount+ recently lost the rights to all of the Star Trek films for several months – despite ViacomCBS owning the rights to those films. And as we’re learning the hard way once again today, its international rollout has been pathetically slow.
Only for fans in North America.
It’s such a shame for all of the actors, directors, and behind-the-camera crew who clearly have put a lot of work into Discovery Season 4 that their work is going to be tainted by a truly selfish and shitty business decision. It isn’t their fault, yet their hard work is now soured in the minds of many of the show’s biggest fans because of incomprehensible corporate bullshit.
I’ve been disappointed with ViacomCBS for a while for their pathetic mishandling of the Star Trek brand, but this latest attack has come as a body blow. I’m angry – actually legitimately angry – with a cowardly corporation that doesn’t have the faintest idea how to operate in a 21st Century television and streaming market. Their mismanagement will continue to harm Star Trek – perhaps fatally so.
ViacomCBS is the company responsible for mismanaging Star Trek.
I can’t speak for every Trekkie, but a lot of Star Trek’s international fans are losing patience with this corporation. It’s long past time for ViacomCBS to get a grip and start managing the franchise properly – before too much harm is done. Star Trek is an amazing franchise that everyone should be able to watch together and share with one another no matter where they’re from – but disgusting and insulting corporate decisions continue to get in the way and actively harm Star Trek.
Lower Decks is so much less than it could and should be entirely because ViacomCBS fucked up its international broadcast. The same will be true of Prodigy – a decision compounded in that case by the utterly ridiculous broadcast schedule. Four episodes, then a two-month break? What fuckwit came up with that idea? And now Discovery.
Here’s a newsflash for the ViacomCBS board: fans aren’t going to wait for the mediocre Paramount+ to arrive. A lot of Trekkies will pirate the show, and a lot of viewers who had been looking forward to seeing it on Netflix just won’t bother; they’ll have forgotten all about it by next year. So let’s all sarcastically applaud ViacomCBS for hammering a nail into the coffin of Star Trek. I hope someone out there with a modicum of business acumen will be able to step in and save the day – but I’m not holding my breath.
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.
Sometimes it feels as though ViacomCBS doesn’t know how to manage a major international franchise like Star Trek. The amateurish rollout of Paramount+ internationally is a great example, as is the streaming service losing all of the Star Trek films for several months. I’ve covered these topics before, and without retreading too much old ground let’s just say that ViacomCBS and Paramount+ need to get a grip, otherwise fans – especially fans from outside of the United States – are going to run out of patience with the corporation, and the casual viewers who make up the majority of any television audience won’t even find out about the latest shows and films.
Today, though, I wanted to tackle a different way in which ViacomCBS is mismanaging the Star Trek brand: toys and merchandise.
Maybe it’s true that action figures for a show like Star Trek: Picard wouldn’t sell particularly well. That series primarily targetted an adult audience – fans of The Next Generation (or at least folks who remember that series) and who are primarily 35+. There was at least some attempt to sell Picard merchandise both before and during the show’s first season, though, with things like T-shirts and even “Château Picard” wine available via the official Star Trek shop.
Château Picard hoodie, anyone?
In the 1980s and ’90s, Star Trek gave even the venerable Star Wars a run for its money in the merchandising and toy departments. Not only were there action figures of practically every minor character to ever make an appearance on The Next Generation, Deep Space Nine, and Voyager, but there were video games, pinball machines, pretend-play toys, playsets, model kits, dress-up outfits, and much more besides. In the ’90s I managed to assemble a modest Star Trek collection of my own, primarily the Playmates line of action figures as well as a few model kits – I was a big model builder back then!
But since the franchise returned to the small screen in 2017, there hasn’t been any noticeable effort on the part of ViacomCBS to merchandise the Star Trek brand – meaning that the corporation is missing out on a significant additional revenue stream from its biggest brand, one that would supplement the income it makes from streaming the various shows and films. Just look at Star Wars: sales of merchandise long ago eclipsed the box office receipts for all of the films combined.
Star Wars has so much merchandise that Disney can literally make merchandise-themed Star Wars films and games.
As I said, it’s possible that not every Star Trek project would warrant the same level of merchandise and toys. But even then, ViacomCBS has been lacking. Look at the Eaglemoss collection of Star Trek starships as a prime example: Star Trek: Picard Season 1 debuted in January 2020, but it took until June 2021 – almost eighteen months later – to release a single model starship from the series.
A corporation the size of ViacomCBS shouldn’t need to be told that the prime time to cash in on a show is while it’s being broadcast. That’s merchandising 101. Waiting eighteen months is pathetic and ridiculous – and it isn’t the fault of collectibles company Eaglemoss. The fault lies with ViacomCBS for not securing these merchandising agreements sooner.
The same is true of Discovery, which only started getting significant merchandise well after Season 1 had come and gone. And even now we’ve passed the second season of Lower Decks, Star Trek’s official shop still carries precious little by way of products from the series.
It took ViacomCBS more than eighteen months to release this model of Picard’s La Sirena.
That brings us to Star Trek: Prodigy, which premiered a couple of weeks ago – for those viewers whom ViacomCBS deemed worthy of being permitted to watch the series. The rest of us outside of North America are still waiting to know if and when we’ll be allowed to watch it (lawfully). But that’s beside the point right now.
Prodigy is a show made for kids. It has more going on, things that adults will enjoy, but its main focus is on the younger audience – making it a prime candidate for selling toys, games, and other merchandise. So… where are all the Prodigy toys?
There are a mere ten Prodigy items for sale from the official Star Trek shop, most of which are the show’s basic logo slapped on mugs and T-shirts.
It’s no good launching a line of Prodigy toys next year. Kids who are streaming the show now want those toys now – and with the holidays approaching it’s literally the best time of the year to be in the toy business. I can understand why ViacomCBS might’ve felt a Soji action figure or an Admiral Picard doll wouldn’t sell like hot-cakes, but Prodigy should be absolutely perfect for all sorts of tie-in products.
Many cartoons and television shows made for kids are little more than twenty-minute toy advertisements. Whole franchises like Transformers and My Little Pony have been created as toys first, cartoons second, and they make a lot of money for their respective companies that way. I’m not suggesting Prodigy should go to that extreme, but even nowadays with kids spending more time with smartphones, tablets, and other electronic gadgets there’s still room for toys and games.
Kids do still play with toys…
For a television show aimed at kids to be broadcast with no kid-friendly tie-in products strikes me as profoundly strange in the current commercial climate. And some folks might be thinking “hey, that’s actually a good thing!” because it means ViacomCBS isn’t doggedly chasing every last dollar. But to me it’s yet another indication of the truly amateurish way that the corporation is handling its biggest franchise.
One of the earliest memories that I have of Star Trek isn’t a television episode or film, it’s a product. My uncle – who boasts a fabulous collection of Star Trek merchandise – showed me a toy phaser from The Original Series that must’ve been made in the ’70s or possibly the early ’80s, which lit up and made a sound when the trigger was pushed. I don’t think seeing that toy was what pushed young me to become a Trekkie, but good quality toys that look like fun absolutely can be the way kids first get interested in a franchise like Star Trek.
I think this was the toy phaser I’m remembering…
Prodigy is full of fun, unique, and colourful designs that would make for amazing toys, dolls, playsets, and pretend-play scenarios. The series is aimed at children, and from the point of view of a longstanding Trekkie, I want it to be successful at converting at least some of those kids into fans of Star Trek as a whole. The entire reason for creating a show like this is to bring new, younger fans into the fandom – and to lay the groundwork for Star Trek’s continued success. As I’ve said before: if Star Trek remains the sole preserve of fans who loved the franchise in the ’60s and/or the ’80s and ’90s then it won’t survive – and it won’t deserve to survive. New fans are the lifeblood of any fandom.
So when I see ViacomCBS mishandling the brand and not taking full advantage of it I feel truly disappointed with a corporation that doesn’t seem to know what it’s doing. Before Prodigy had aired a single episode there should’ve been the following basic tie-in products at a bare minimum: action figures and/or dolls of each of the main characters, at least one playset of the USS Protostar, dress-up costumes of the main characters – including a Starfleet uniform – and pretend-play toys of things like phasers and tricorders. These items should’ve been available worldwide at a reasonable price so that kids who like the show could remain engaged with Star Trek outside of the half-hour per week where they’re watching the episodes.
The USS Protostar from Prodigy.
Some of ViacomCBS’ other failures when it comes to Star Trek actually feel less significant than this massive missed opportunity. It isn’t just about making money on each product sold – and in the short term, while the show and Paramount+ build up their reputations, it’s even possible that the corporation would make a moderate loss. But the longer-term prospects of merchandising a show like Prodigy are significant. As kids who don’t watch the show see the toys at their friends’ houses they’ll ask what Star Trek is and maybe get into the series for themselves. With Star Trek toys on the shelves of every major supermarket and toy shop, people who weren’t aware of the franchise’s return will realise that Star Trek is back. This kind of word-of-mouth advertising pays for itself, and that’s something very difficult to pull off on social media (especially given the truly crap way ViacomCBS manages Star Trek on social media – but one battle at a time, eh?)
I’ve made no secret over the past couple of years that I have issues with the way ViacomCBS has handled the Star Trek brand. And I don’t raise these points out of spite – I want them to manage Star Trek better because I care about Star Trek’s future success. Right now, decisions like these make it seem as though Star Trek is very much a lesser brand even in the minds of the people who are supposed to be running it. When you can turn up at any supermarket or toy shop and see dozens of Star Wars toys, yet nothing at all from Star Trek, it’s disappointing.
The premiere of Prodigy, a series aimed at kids, should have come with at least some toys and games to go along with the show. Making money from that kind of merchandising arrangement is one reason why, but another far more important reason is engagement – making sure that kids remain engaged with Prodigy, its world, and its characters when they aren’t watching the show is key to keeping them coming back. In 2021, practically every kids show has some kind of tie-in product – and it’s a damning indictment of the sloppy, amateurish way that ViacomCBS has handled the Star Trek brand that Prodigy doesn’t.
Star Trek: Prodigy is available to stream now on Paramount+ in the United States. No international broadcast has been announced. The Star Trek franchise – including Prodigy 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.
On the 15th of November 2001, the original Xbox launched in the United States. That makes today the 20th anniversary of the console and Microsoft’s gaming brand, so I thought we should mark the occasion with a look back! I haven’t yet had the chance to play on an Xbox Series S or X, but I’ve owned an original Xbox, an Xbox 360, and an Xbox One at different points over the past couple of decades so I like to think I’m qualified to comment on the brand!
It’s hard to remember now, especially for younger folks who’ve quite literally grown up with the games industry looking the way it does, but the Xbox was a massive risk for Microsoft in 2001. The games industry at the turn of the millennium felt settled – Nintendo and Sega were the “big boys” and PlayStation had been the new kid on the block, shaking things up as the world of gaming moved from 2D to 3D titles.
Xbox turns 20 today!
For practically all of the 1990s, it had been Japanese games companies – Sega, Nintendo, and Sony – that had dominated the video game hardware market. Challengers from the ’80s like Atari and Commodore represented American manufacturers, but they’d fallen away by the end of the decade leaving the worldwide video game hardware market the sole domain of the Japanese.
I remember reading more than one article in 2001 promising that the Xbox would be an expensive failure for Microsoft, arguing that “no one” was looking for a new console manufacturer at that time. It would be impossible to enter a market where things were already stable, and even with Microsoft’s money, challenging the mighty Sega, Nintendo, and PlayStation was just going to be a waste of time. How wrong is it possible to be, eh? We should all remember articles like those before making big predictions!
Bill Gates unveiled the Xbox and showed the console to the world for the first time in 2001.
The video games industry was far less settled in 2001 than anyone seemed to realise, of course. Sega’s Dreamcast would prove to be such a significant flop that the company ended up shutting down their hardware business altogether, and Nintendo’s GameCube – which also launched in November 2001 – would struggle to compete with the PlayStation 2 and Xbox in terms of sales.
So the market was definitely more receptive to a new entrant than a lot of folks at the time were predicting! But that isn’t why the Xbox succeeded. It helped, of course, that the console was created at a time when Sega was getting out of the way and Nintendo had uncharacteristically faltered. But those external factors weren’t key to the success of the Xbox, and anyone who claims otherwise is doing the console a disservice.
The original Xbox logo.
The Xbox was a great machine. Microsoft had decades of experience in software and plenty of money to boot – they were one of the world’s richest companies even then. Bringing their considerable experience and financial resources to bear led to the creation of a truly world-class machine, one that massively outperformed two of its three competitors in terms of raw processing power and graphical fidelity.
All of those stats would have been meaningless, though, had the console not had a killer lineup of games – and Microsoft delivered there too. Though Microsoft had made some games of their own before 2001, like Age of Empires for example, they didn’t have as much game development experience as the likes of Nintendo and Sony. While development of the Xbox was ongoing, Microsoft worked with a number of third-party developers, signing exclusive contracts and having games built for their new machine from the ground up.
The Xbox was Microsoft’s first video game console.
We can’t talk about the Xbox without talking about its “killer app” – Halo: Combat Evolved. After GoldenEye on the Nintendo 64 had proven that first-person shooters could work well on home consoles, Halo honed the console shooter genre to near-perfection. It was the must-have game of 2001 and 2002, one of the most talked-about and debated titles of the day. Nintendo and PlayStation simply didn’t have anything in reply, and Halo absolutely dominated the conversation going into 2002.
It wasn’t only the first-person shooter genre where Microsoft invested heavily. They contracted a studio called Bizarre Creations – who’d developed a racing game called Metropolis Street Racer for the Dreamcast – to work on an Xbox-exclusive racer: Project Gotham Racing. The game played differently to other racing games at the time – with an emphasis on “kudos” points rather than just winning the race. Project Gotham Racing didn’t quite succeed at eclipsing the likes of the Gran Turismo series on the PlayStation 2, but it was a fun romp nevertheless.
Halo: Combat Evolved was the console’s big launch title.
My personal experience with the original Xbox came in the wake of the Dreamcast’s demise. I’d invested in a Dreamcast as a replacement for my Nintendo 64, but when Sega announced in early 2001 – scarcely a year after its launch – that the Dreamcast would be discontinued and development would cease I knew I’d have to find a new machine again! The Dreamcast was a great console in its own way, but it felt iterative rather than transformative. When I was finally able to upgrade to an Xbox in early 2002 I was blown away by how modern-feeling the machine was.
The control pad – affectionately known as the “Duke” – was the first thing I noticed that was so much better. The addition of a second analogue stick made controlling all kinds of games so much easier and smoother, whether they were racers, shooters, or third-person adventure titles. The black and white buttons were a solid addition too, giving games more options than older control pads on other hardware. The Duke wasn’t wildly popular, though, due to its large size making it heavy and unwieldy for a lot of players. Within a matter of months, Xbox had released the S-controller as an alternative, and that design has stuck. The popular Xbox 360 control pad was based on the S-controller, and the design has remained more or less unchanged since.
The S-controller replaced the Duke – and its design has been honed and refined in the years since.
Some of my favourite gaming experiences of all time took place on the Xbox. I played my first true open-world games on the platform, with titles like Grand Theft Auto: Vice City and The Elder Scrolls III: Morrowind showing off the console’s power through the size, scale, and density of their worlds – something completely unprecedented at the time. Knights of the Old Republic completely blew me away with its story, and at one point I can vividly remember sitting with the control pad in my hand, mouth open in shock at the way that game’s story unfolded. That’s a moment in gaming – and a moment as a Star Wars fan – that I will never forget!
The Dreamcast had shown me the first game that I felt was genuinely cinematic; a title that would’ve felt at home on the big screen: Shenmue. But that console still had its limitations, and relatively few Dreamcast titles came close to reaching the high bar set by Shenmue. The Xbox feels – at least to me – like the first modern video games console; the first machine to bring together all of the foundational elements of 21st Century gaming.
Knights of the Old Republic was a fantastic Xbox exclusive.
The launch of the Xbox marked a sea change in the video games industry. Sega was getting out of the market, and Microsoft jumped in. Sony’s PlayStation and Microsoft’s Xbox would go on to be the two big powerhouses of gaming in the 2000s, settling their status as the decade wore on. It was also around this time that Nintendo stopped focusing on trying to compete with PlayStation and Xbox in terms of raw power and began looking at different ways to play – culminating in the launch of the Wii a few years later.
Twenty years ago the Xbox was seen as a risk. Now, as we look back on two decades of Microsoft’s gaming hardware, it’s patently obvious that it’s a risk that paid off – and then some! As we stumble into another new console generation, Xbox feels like a safe, solid bet. And the brand is, in many ways, just getting started. Xbox Game Pass offers fantastic value as a subscription service right now, and as Microsoft looks to harmonise their console and PC players in a single conjoined system, things are definitely changing for the better for Xbox as a brand. There have been some bumps in the road over the past couple of decades – the rocky launch of the Xbox One and the failure of Kinect being a couple of big ones – but overall, it’s been a success for Microsoft. I knew a lot of people in 2001 who would never have expected to see Xbox as one of the top two gaming platforms twenty years later.
All titles mentioned above are the copyright of their respective developer, studio, and/or publisher. Xbox and all associated properties are the copyright of Microsoft. 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 trailers and teasers for Star Trek: Picard Season 2. Spoilers are also present for the following Star Trek productions: The Next Generation, First Contact, Voyager, and Enterprise.
Today we’re going to take a look at Q, the immortal trickster who has tangled with Captains Picard, Sisko, and Janeway – and who will soon be returning to the Star Trek franchise! Q is an unusual character in many ways. He seems to have practically unlimited knowledge of the galaxy, and may have been alive for billions of years. Yet he has an impish, almost childish sense of humour that sees him tease and mess with Starfleet – and many other people too.
I wouldn’t call Q a “villain” in any of his appearances to date. In fact, I would argue very strongly that Q sees himself as a friend, an ally, and a guide to Captains Picard and Janeway in particular, having offered his services more than once. He’s certainly selfish – forcing Starfleet officers to undergo tests and trials of his own devising – but there’s usually more to his games than meets the eye.
Q in his judge’s robe.
On several occasions – going all the way back to his first appearance – Q has presented Starfleet with puzzles to solve. These puzzles can be dangerous, and more than once Q has gotten people killed. But even so, I wouldn’t characterise him as a typical “villain” for Captain Picard or Captain Janeway to “defeat.”
The puzzles Q has presented – especially to Captain Picard – have actually proven to be deeply satisfying, and arguably helped Picard and Starfleet grow. Recognising that life can take very different forms – as Q helped Picard to see in Encounter at Farpoint – is one such puzzle he presented. He also taught Picard how to view time in a non-linear fashion – understanding that events in the future could have a causal link to events in the past in All Good Things.
All Good Things saw Q present Picard with another puzzle to solve.
Even the teasers and trailers for the upcoming second season of Star Trek: Picard may not be all they seem. Picard says he blames Q for disrupting or changing the timeline, but I think we’ll have to see that story play out before we can assign all the blame to Q. Even if Q is responsible, the question of motivation comes up. Is it really just a game; a trick to mess with Picard? Or is there something bigger going on?
That’s one of my big Picard Season 2 theories! But I’ll save the full write-up for another day. Today we’re not looking ahead to future Star Trek, we’re going to look back at past iterations of the franchise and try to answer a deceptively simple question: did Q save the Federation?
Q will soon be returning to Star Trek…
Star Trek has made a mess of the early history of Borg-Federation contact. The Raven, from Voyager’s fourth season, told us that the Borg assimilated humans and a Federation vessel in the 2350s. Regeneration, from Enterprise Season 2, showed the Borg battling against Captain Archer and his crew – and sending a message to the Delta Quadrant that would be received in the 24th Century. So the question of how the Borg first became aware of the Federation is an open one. Did they receive a message from across the galaxy? Did they first discover humanity when they assimilated Seven of Nine and her family?
Either of these explanations could account for the Borg’s interest in the Alpha and Beta Quadrants in the mid-late 24th Century. Season 1 of The Next Generation first teased the Borg’s appearance with the episode The Neutral Zone, in which both Federation and Romulan colonies had gone missing – “carried off” the surface of their planets, as Romulan commander Tebok put it. The Borg’s responsibility for these attacks would be confirmed in The Best Of Both Worlds – though the connection is easily missed, in my opinion, as it doesn’t take up much screen time.
The Borg were responsible for the destruction of several Federation colonies in the 2360s.
Regardless, one thing is certain: the Borg knew of the Federation’s existence well before the Federation knew of theirs. They had even begun to send scouting vessels relatively close to Federation space; system J-25, where the Enterprise-D first encountered a Borg Cube, was a mere two-and-a-half years away from Federation space at high warp, placing the Borg tens of thousands of light-years away from their Delta Quadrant home.
Were the Borg actively scouting for the Federation, or was it just a coincidence that one of their vessels was operating so far away from their own space? We may never know the answer to that, but someone almost certainly does: Q.
Q was responsible for this encounter.
In brief, here’s my theory: the Borg and the Federation were already on a collision course, but the Federation didn’t know it. Whether it was because of the First Contact–Regeneration time travel loop, the assimilation of the USS Raven, the attacks along the Neutral Zone, or simply the Borg’s continued exploration of the Alpha and Beta Quadrants, they had humanity and the Federation firmly in their sights long before Starfleet was aware that there was a problem.
Recognising this, and seeing potential in humanity thanks to his earlier run-ins with Captain Picard and the crew of the Enterprise-D, Q chose to intervene. He knew that if the Federation became aware of the threat the Borg posed, their ingenuity would lead to better defences and they’d be able to protect themselves, so he chose to deliberately introduce them to the Borg for that reason.
A Borg Cube hovering ominously over Earth. The Borg came very close to assimilating humanity’s homeworld.
The events of The Next Generation Season 2 episode Q Who can be reinterpreted through this new lens. Rather than Q trying to frighten Picard for the sake of it or to prove his own superiority, he was – in his own twisted way – helping Picard and the Federation. The events of Q Who led the Federation to begin serious preparations for a Borg incursion, and without that tactical readiness it seems likely that the Borg would have been able to cruise to victory during the events of The Best of Both Worlds.
This fits with how Q operates. In stories like Encounter at Farpoint, Tapestry, and All Good Things, as well as Voyager’s The Q and the Grey, Q never explains everything he knows. Instead he obfuscates, talks around the issue, and forces Starfleet figure out what’s going on for themselves. Sometimes he pushes Picard or Janeway in a certain direction to get things moving, or even devises a puzzle or test of his own, like he did in Hide and Q. But what he never does is simply communicate – he doesn’t just sit down with Picard and tell him about Farpoint Station or the anti-time problem. He pushes Picard to figure those things out for himself.
Q appeared in Season 1 of Lower Decks.
And so it is with the Borg – according to this theory. Rather than contacting Picard and explaining what he knows about the Borg and their intention of targetting Earth, he sends the Enterprise-D to a location where he knows a Borg vessel will be and allows the crew to discover the threat for themselves. He does so knowing that the consequences will be Starfleet ramping up their defences in preparation of a Borg attack.
In All Good Things, Q told Picard that the Q Continuum saw potential in humanity – the potential to one day understand more about the universe than they ever thought possible. From Q’s point of view, perhaps he believed that seeing the Federation attacked and humanity assimilated would be a net loss to the galaxy because that potential would never be realised.
Q has his reasons for “testing” Picard and humanity – even if he chooses not to explain himself.
Q’s motivation for putting Picard and humanity “on trial” seems to be connected to this. In Encounter at Farpoint he accused humanity of being “a dangerous, savage, child race.” Yet even by the end of the episode, Q appeared to be impressed rather than disappointed that Picard and the crew could solve his puzzle. Rather than believing humanity to be dangerous and savage, as he asserted, Q almost certainly sees humanity as something more than that – and thus would feel humanity’s assimilation by the Borg would be a loss. His desire to avoid that fate could have motivated him in Q Who.
All of this could tie into Picard Season 2. Q may feel that Picard and the Federation are ungrateful for his “assistance” over the years, and he could cite the events of Q Who as one example of how his intervention saved the Federation from assimilation. While the latter part is up for debate, I definitely believe that Q feels underappreciated by Picard in particular, and sees his interactions with the former captain of the Enterprise-D as helpful rather than antagonistic.
Q looks annoyed with Picard in the trailer for Star Trek: Picard Season 2.
So let’s recap! The Borg became aware of the existence of the Federation by the mid-24th Century. The Federation had technology and resources that the Borg considered valuable, and they began targetting outlying Federation colonies, including those near to the Romulan Neutral Zone. All the while, the Federation remained ignorant of the Borg’s existence – considering them to be little more than rumour.
Foreseeing disaster and either the total assimilation of humanity or the devastation of the Federation such that humanity could not achieve its full potential, either the Q Continuum or Q independently decided to intervene. Instead of simply contacting the Federation to share his knowledge, Q transported the Enterprise-D to the star system J-25, where they encountered the Borg. This encounter led to the Federation developing anti-Borg strategies and defences that would ultimately save them from assimilation.
Unusually, Q has never taken credit for this. However, it’s at least possible that he considered Picard and the Federation as a whole to be ungrateful for his help, and this could tie in somehow to the events of Picard Season 2 where Q will be making a return to the Star Trek franchise.
Did Q save the Federation from assimilation?
What I like about this theory is that everything feels like it fits together. This theory connects the message sent in Regeneration and the early assimilation of Seven of Nine’s family to the events of The Neutral Zone, giving the Borg a reason to be operating so far outside of their territory. It also fits in perfectly with the way Q behaves – never sharing everything he knows and presenting dangerous and often deadly puzzles to Picard and Starfleet.
Whether it’s true or not is open to interpretation! I would say that Q Who wasn’t written with any of this in mind, and a straight watch of the episode strongly suggests that Q’s motivation is simply to frighten Picard and the crew of the Enterprise-D after his offer to join the crew was rejected. Q felt that Picard was arrogant in assuming that Starfleet could handle any threat the galaxy contained, and wanted to prove him wrong. While that explanation works in the context of the episode, it doesn’t preclude anything included in this theory from also being true; Q could still have been annoyed at Picard’s assertion that the Federation was prepared for anything while also intending to provide them with advance warning of the Borg.
So that’s it for this one! As with all fan theories, anything we see on screen in a future episode or film could render the whole thing invalid. But for now, I think it’s at least plausible that the events of Q Who represent Q trying – in his own unique and twisted way – to help Picard and the Federation. Q has always seen himself as a friend of Picard’s, and based on what we know of both Q and the history of Borg-Federation contact, it seems to me that everything arguably fits together!
The Star Trek franchise – including all episodes 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 and the trailers and teasers for Season 4. Spoilers are also present for other iterations of the Star Trek franchise, including Picard Season 1.
Discovery’s fourth season kicks off next week, and if you missed my coverage of the series last year you might not know that I like to write up my theories after each episode has aired. This year I want to get in early and put all of my major pre-season theories into one place… that way we can cross them off as they get debunked – or possibly even confirmed!
Last year I had a lot of fun combing over each episode and trying to speculate and theorise where the story might go. I came up with many theories that were wide of the mark – check out some of my worst ones by clicking or tapping here! – but I did also get some things right.
A Ferengi Starfleet officer glimpsed in the second Season 4 trailer.
It’s important to caveat any list of theories by saying that I have no “insider information” and I’m not trying to claim that anything listed below will happen. Fan theories are a lot of fun for me, but they can also detract from a person’s enjoyment of media if they get too attached to a particular theory that ultimately doesn’t come to pass. If you find yourself in that position, I recommend taking a break from fan theories for a while.
So let’s have a bit of fun and kick off my Star Trek: Discovery Season 4 theories one week early! You might’ve seen some of these already – I’ve written up a few big pre-season theories over the past few months. Let’s jump into the list!
Theory #1: A major character will be killed.
A Starfleet coffin draped with the Federation flag as seen in Deep Space Nine.
Season 3 saw a couple of major departures: Mirror Georgiou entered the Guardian of Forever’s portal, and Nhan remained behind aboard the USS Tikhov. Yet despite the dangers the crew faced as they navigated the 32nd Century, battled the Emerald Chain, and figured out the mysteries of the Burn and the Verubin Nebula, only one ally – Ryn – lost their life.
Killing off a character can be an excellent way to communicate the stakes involved if it happens at a relatively early stage, and we know Captain Burnham and the crew will be facing a dangerous gravitational anomaly. It can also be a storyline that brings a lot of emotion, as we have to say goodbye to a beloved member of the crew.
Dr McCoy and Sulu playing dead in The Wrath of Khan.
In short, I think there are plenty of reasons on the production side why killing off a major character could make sense in Season 4. Discovery has seen a number of characters leave the series – far more than any past Star Trek show, in fact – but the series’ death toll is still relatively low when compared to many other modern television shows.
There are also a couple of characters whose roles aboard the ship feel in danger – not least of whom is poor ex-Captain Saru, who was rather unceremoniously shuffled out of his role in the Season 3 epilogue. For a full breakdown of which other characters may or may not be in danger, check out my list of “death predictions” by clicking or tapping here.
Theory #2: There will be a character crossover from a past iteration of Star Trek.
Voyager’s Doctor is a contender!
Yes, I’m officially bringing this theory back! This is one that I doggedly clung on to for all of Season 3, and while it arguably kind of happened with the Guardian of Forever, that wasn’t really what I meant.
The show’s 32nd Century setting has shot Captain Burnham and the crew far beyond anything in Star Trek’s established canon, and that should mean that practically everyone we remember from other Star Trek shows won’t be around any longer. But this is Star Trek – with some creatively-written technobabble, practically any major character could have survived all the way through to the 32nd Century!
Could Sutra still be alive in the 32nd Century?
It’s also possible for Captain Burnham to discover the logs of a long-dead officer; someone we as the audience would be familiar with. While this would be less of a “crossover” than if a character from the past could be physically present, it would still be a lot of fun to see!
There are a handful of characters who could have survived to the 32nd Century based on what we know about them from past iterations of the franchise. Included in this category would be people like Soji, Voyager’s Doctor, and a few others. But as we’ve seen in episodes like Relics and even the film Generations, all it would take to make a big crossover happen is some kind of temporal anomaly, stasis field, or other technobabble!
Theory #3: Burnham may not remain in the captain’s chair.
Michael Burnham in the captain’s chair in a promotional image for Season 4.
This is a controversial one, so let me just say up front that I’m neither in favour of this theory nor opposed to it – I just think it’s a possibility. As things stand, Discovery has had four different captains across its four seasons. One of the show’s unique points of interest within Star Trek’s broader canon are the differences between these very different individual captains and the way they commanded the ship and crew.
It’s got to be considered at least a possibility, then, that the show will continue this trend. This doesn’t mean Captain Burnham will be killed off; I’d actually argue she’s pretty safe. But there are many different routes to her potentially leaving the ship, such as a desire for freedom that we saw in Season 3, or even perhaps taking up a new, more senior role within Starfleet.
Captain Burnham in the first Season 4 trailer.
If this theory were to come to pass, it would be something I’d expect to see at the very end of the season. Even if Burnham seems 100% committed to her new role as captain, I don’t think it’s a theory we can definitively rule out.
It’s worth mentioning that at time of writing, Discovery hasn’t been officially renewed for a fifth season – so all this talk of who’ll be in the captain’s chair by then could be moot! And of course this theory has a very strong counter-argument: that Discovery’s main story arc across its first three seasons can be read as Burnham’s ascent to the captain’s chair.
Theory #4: The Spore Drive will be rolled out to more ships.
The USS Discovery making a Spore Drive jump.
The Season 3 finale rushed past this point as it had a lot going on, but the revelation that Book – and potentially millions of other people with empathic abilities – can serve in the role of Spore Drive navigator is huge. The technology was previously limited by Stamets being the only one with the ability to interface with the mycelial network, but now that limitation has seemingly been removed.
In a galaxy where dilithium supplies are still low, having a powerful alternative method of propulsion is a godsend for Starfleet, and I would think it would be a priority to start recreating the technology and training up a whole corps of Spore Drive navigators.
Book was able to use the Spore Drive in Season 3 – potentially opening it up for more ships to use.
On the production side of things, this would finally find a proper use for what has been one of Discovery’s more controversial elements. Even after the discovery of the huge dilithium cache in the Verubin Nebula, the vitally-important fuel is still a limited resource. Developing an alternative way for Starfleet ships to get around should still be a priority for the organisation.
This could be a story with real-world parallels, too. Climate change is a very real and very dangerous threat out here in the real world, and finding new, cleaner ways of generating power and fuelling our vehicles is essential. Discovery could use its Spore Drive as an analogy for the development of electric vehicles or renewable energy generation, for example.
Theory #5: Kovich works for Section 31.
Kovich in Season 3.
This is another Season 3 theory that I’m choosing to bring back! The question of who Kovich is and what role he played in Starfleet and the Federation was left open at the end of Season 3, and we know that the character will return in some capacity. As someone who seemed to talk around the issue at hand and not reveal everything he knew, Kovich strikes me as potentially being a Section 31 operative – or even the head of the organisation.
We don’t know yet if the Section 31 series that was announced in 2019 will go ahead as planned. But if it does, there could potentially be a connection between Kovich and Georgiou that would tie the two shows together. Kovich is mysterious enough that his character could be taken in many different directions – but my money’s on Section 31.
Theory #6: The ban on time travel will be explained further.
Admiral Vance first told us of the ban on time travel.
This one is a hope as much as a theory right now! In short, the ban on time travel was introduced early in Season 3 primarily as a way for the writers and producers to avoid questions about why the 32nd Century was so different from how the far future had been depicted in earlier Star Trek productions, as well as to explain things like how the Burn was able to catch the Federation off-guard and why Georgiou couldn’t simply be sent back in time when she needed to.
But the ban itself raises some issues – the biggest one being the lack of detail on how it works and how something like this could possibly be enforced. As I said several times last season, it isn’t possible to just un-invent a technology so useful and powerful as time travel. Even just a few lines of dialogue going into a little more detail on the mechanisms involved in the ban would be really useful.
Theory #7: The Federation has flouted the ban on time travel.
HMS Bounty travels through time in Star Trek IV: The Voyage Home.
Sticking with the time travel ban, another theory I had last season was that the Federation – and Section 31 in particular – might have deliberately flouted the ban and failed to abide by the rules. Someone as straight-laced and committed to Starfleet ideals as Admiral Vance is highly unlikely to have sanctioned such a move, but someone like the shadowy Kovich (who we talked about a moment ago) might have. President Rillak is someone we don’t know yet, but she could also be involved.
Obviously the bulk of the season’s story will deal with the gravitational anomaly. But there’s scope to either talk about the time travel ban in a standalone episode or even tie the two stories together – perhaps the anomaly has been unleashed as a result of unsanctioned time travel.
Theory #8: The story will connect with the Short Treks episode Calypso.
The USS Discovery seen in Calpyso.
Despite a handful of moments in Season 3 which seemed to connect to Calypso, the story of the season overall ended up going in a very different direction. While we saw a couple of things that arguably did tie in to the Short Treks episode, major things like the USS Discovery undergoing a refit have actually moved the plot even further away.
It’s possible that Calypso will forever remain an outlier in Star Trek’s canon – an episode tied to a vision of Season 2 or Season 3 that was changed before it made it to screen. But earlier in Season 3 it felt like we were getting close to seeing how it could all be tied together – and I’m hopeful that Season 4 will find a way to do so.
Theory #9: The crew will have to defend the Verubin Nebula.
The dilithium planet at the centre of the Verubin Nebula.
The Federation is in a weakened state, and even if we see worlds like Ni’Var rejoin the organisation it’s still nowhere near as powerful as it once was. The Verubin Nebula is thus a very tempting target for anyone looking to gain an edge in a galaxy where dilithium is still in short supply. As the only known significant dilithium supply, whoever controls the Verubin Nebula will have a massive tactical advantage.
We can compare the Verubin Nebula to Deep Space Nine’s Bajoran wormhole in that respect – it’s a resource of huge strategic importance. Season 3 didn’t show us much about the makeup of the galaxy’s factions outside of the rump Federation and the Emerald Chain, but it’s got to be possible that factions like the Dominion, Klingon Empire, or even the Borg still exist and would want to seize the Verubin Nebula for themselves.
The USS Discovery arriving at the Verubin Nebula in Season 3.
Season 4 has teased a scientific puzzle – the gravitational anomaly. But that doesn’t mean there won’t be villains in play, and Discovery has introduced us to several compelling and interesting villains over its first three seasons.
To make a long theory short, it would begin to stretch credulity to think that everyone in the known galaxy would see the Federation rebuilding and having access to dilithium and not want to find out for themselves what’s going on. Once the Verubin Nebula’s existence becomes known, even if the Federation promises to share its bounty with all comers, it seems very likely that someone would want to take control of the dilithium supply for themselves.
Theory #10: The super-synths from Picard Season 1 are involved with the gravitational anomaly.
The super-synths in Picard Season 1.
Picard Season 1 introduced us to a faction I nicknamed the “Mass Effect Reapers” – for their similarity to that video game faction. This race of super-synths existed outside of the Milky Way galaxy and promised to come to the aid of any synthetics who were being persecuted by organics, and Soji and Sutra attempted to contact them in the Season 1 finale.
We don’t know much at all about the super-synths or what their goals or motivations might be. It has to be considered at least possible that the attempted contact by the Coppelius synths set in motion a chain of events that could lead to the super-synths attacking the Milky Way galaxy.
Theory #11: The gravitational anomaly is a superweapon.
The USS Discovery en route to the anomaly in the second Season 4 trailer.
Based solely on what we’ve heard about the gravitational anomaly in the trailers and teasers, one thing strikes me as odd. The anomaly appears to be “targetting” the Federation. I put the word in inverted commas because it implies an intelligence at work – someone or something in control of the anomaly, directing it to attack the Federation. But what if that’s actually the case?
I mentioned the super-synths above as one possible culprit, but we could also consider factions like the Borg or the Dominion – they might have taken the opportunity of the Burn to perfect a weapon to destroy the remaining members of the Federation, perhaps as a precursor to invading and conquering the Alpha Quadrant.
A different depiction of the anomaly.
There are also factions like the Kelvan Empire from The Original Series – whose possible return to the Milky Way galaxy lines up in terms of timing. Enterprise’s Sphere Builders also come to mind: they attempted to use their own anomaly-generating devices to convert a region of space to resemble their native realm also as a precursor to invasion.
In short, are we certain that the gravitational anomaly will be nothing more than a natural phenomenon? I’m definitely not convinced of that right now! Past seasons of the show have seen twists and turns, taking stories in unexpected directions. Right now we assume that whatever this anomaly is it’s something natural – but that may not be the case.
Theory #12: Captain Burnham and the crew will encounter the Klingons.
The Klingons have been part of Discovery since the beginning.
By the late 24th Century the Federation and Klingons were firm friends, having been allied for a century and after fighting side-by-side against the Dominion. We don’t know if that alliance endured to the 32nd Century, but it’s certainly plausible to think that it did. The Klingons might even have joined the Federation at some point, and their violent warrior culture may have been significantly pacified.
One thing that could be very interesting to see is how the crew of the USS Discovery – almost all of whom are veterans of the Federation-Klingon war – would respond to that. They’ve worked alongside Klingons like L’Rell before, but many of them still see the Klingons as an old enemy. The story of overcoming that prejudice could mirror episodes like The Wounded from The Next Generation, and would be very interesting to see.
Theory #13: Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.
The USS Voyager was the first Federation starship to explore the Delta Quadrant.
It’s quite possible that Season 4 won’t revisit the Burn narrative in any detail. But one thing I’d be curious to see is the true extent of the disaster – did it reach all four quadrants of the galaxy equally, or did its effects fade out after a certain point? Michael Burnham discovered that the Burn had a point of origin, and that it radiated out from that point like ripples on the surface of water. Ripples eventually diminish, fading away the further they travel, and perhaps that’s true of the Burn as well. There could be whole areas of the galaxy that didn’t even notice the Burn – and maybe the ship and crew will visit one such region.
If the Delta Quadrant was left largely unscathed, for example, what might that mean for the likes of the Borg? It’s possible they aren’t even still around in the 32nd Century, but it’s also possible that they’ve had more than a century to expand and build up their forces while the Federation suffered.
Theory #14: The Guardian of Forever will be back.
Carl – the Guardian of Forever’s new persona.
Having reintroduced the Guardian of Forever in Season 3, I wouldn’t be at all surprised to see Discovery return to the Guardian’s planet in Season 4. The gravitational anomaly is something new and threatening, so it’s possible Captain Burnham might want to ask the Guardian for help or information.
The Guardian of Forever is also the only way we know of at present to travel through time – something that might be necessary if Season 4 makes an attempt to link up with Calypso in a big way. There are many reasons why Captain Burnham might want to revisit the Guardian, and it would be great to bring back actor Paul Guilfoyle, who played the Guardian’s humanoid avatar in Season 3.
Theory #15: At least one new character will join the main cast.
Lieutenant Detmer in Season 3.
One big question facing the series right now is who will take on the role of Captain Burnham’s first officer? Tilly was seen in the second trailer wearing the blue uniform of the science division, so it seems as though her tenure as the USS Discovery’s number one will be short-lived. So who will replace her? There are several secondary bridge officers like Rhys, Nilsson, and Bryce who are contenders, but it could also be someone like Lieutenant Willa – Admiral Vance’s aide-de-camp from Season 3.
A new character entirely could also join the crew, either directly as Burnham’s XO or to replace someone else who gets promoted to that role. With both Nhan and Georgiou departing in Season 3, and a potentially reduced role for Saru this time around, there’s definitely scope to bring a new major character aboard the ship.
Lieutenant Sahil was commissioned into Starfleet at the end of Season 3.
We could potentially see characters from Season 3 like Lieutenant Sahil or even Aurellio make a comeback. Sahil was the guardian of a Federation relay post who Captain Burnham met at the beginning of the season, and he was commissioned as an officer in the season finale. He would be a great choice in my opinion.
A wholly new character could also be concocted. We know that Federation President Rillak will be new for Season 4, but how significant a role she will have remains to be seen. I definitely feel that there’s scope for at least one new character – or perhaps the promotion of a secondary character to the regular cast.
So that’s it for now! Those are my official Season 4 theories written up and ready to go!
Grudge is also coming back!
The season premiere will arrive in less than a week from now, so stay tuned for a full review of the episode and an update to these theories! I wonder how many will be completely destroyed right off the bat?
I’ve been looking forward to Discovery’s fourth season all year, and it’s hard to believe it’s now only a few days away! I’m hoping to see a season of television that will be tense, exciting, and unpredictable. Despite my love of theory-crafting, I like being wrong just as much as I like being right – if not more! A story that goes in truly unexpected directions is a lot of fun, so I won’t be upset even if absolutely none of my theories come to pass.
Star Trek: Discovery Season 4 will premiere on the 18th of November 2021 on Paramount+ in the United States, and on the 19th of November 2021 on Netflix in the United Kingdom and around the world. 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.
It’s been a whole year since the launch of the Xbox Series S/X and the PlayStation 5. The consoles debuted a week apart in early November 2020, and I thought I’d mark the occasion by taking a look back on what has to be considered a pretty rough year for both machines.
At time of writing, both the Xbox Series X and PlayStation 5 are out of stock in the UK – and this has been the case for twelve months. Occasional deliveries of consoles to retailers are either sent out to folks who pre-ordered or are snapped up within minutes of going on sale – often by bots. Availability of the less-powerful Xbox Series S has been spotty, but generally better than its more powerful cousin, which is good news for gamers on a budget. However, availability overall has been poor.
Promotional image of the Xbox Series X.
These aren’t the first machines to launch without the supplies to meet worldwide demand, and it’s likely that they won’t be the last. But as I argued last year, this particular console launch feels far worse and more egregious than practically any other. It’s certainly true that other consoles in the past had supply issues. Getting a Nintendo Wii in the UK in 2006 and into 2007 was difficult, for example. But this feels far worse than that, and when compared to the launches of the PlayStation 4 and Xbox One in 2013 it’s pretty damn bad.
As we keep hearing on the news, issues with “supply chains” abound across the world, and this was true a year ago as Microsoft and Sony prepared to launch their new consoles. Many components involved in the manufacture of the machines – from silicon to microprocessors – were feeling the pinch due to a number of factors. The pandemic had hit manufacturers in China and Taiwan hard earlier in 2020, but there were also additional pressures from a growing cryptocurrency mining craze that ate up vast numbers of graphics cards and other components. As a result of all of these factors and more, both the Xbox Series S/X and the PlayStation 5 launched with far less availability than necessary.
Two PlayStation 5 editions – with and without a disc drive.
Ever since the transition from 2D to 3D, it’s taken game developers a while to truly get to grips with new hardware and release games that can fully take advantage of the computing power on offer. As a result, for at least a couple of years following the launch of a new console many games are in transition – looking slightly better, perhaps, than the prior generation, but still nowhere near as good as they could. With the diminishing returns on offer considering that Xbox One and PlayStation 4 titles could already look decent, many games released for the two new systems over the past year haven’t really felt new or innovative.
This generation, like the one before it really, will almost certainly go down as an iterative step rather than a transformational one. When consoles from the previous generation could knock out visually-stunning titles like Red Dead Redemption II, Assassin’s Creed Odyssey, and Ghost of Tsushima, it really feels like there’s limited room for improvement! Put the average player in a room with the best-looking games of the last generation and some of the first titles from this generation and they’d struggle to tell the difference.
Last generation’s Red Dead Redemption II is a stunningly beautiful game with an expansive open world.
There’s a case to be made that Microsoft and Sony should’ve waited. Rather than letting down their audiences by having totally inadequate supplies, if they’d delayed their releases by a year and used that time to build up stock in anticipation of a bigger launch in 2021, we could be talking about the new consoles releasing this month. It’s still possible that they’d both sell out just like last year – but it’s also possible that the extra manufacturing time, without the pressure of fulfilling pre-orders from increasingly irate customers over the past twelve months, would have led to a better launch window for both consoles.
So I guess that’s where I come down on the issue. The consoles were launched callously by both companies without adequate levels of stock to meet the demand that they knew existed. The predictable outcome has been that scalpers and touts have been re-selling consoles all year long for close to double the recommended retail price, lining their own pockets in the process. It seems as though Sony and Microsoft don’t care about this in the slightest, and they’ve been content to leave the problem of bots and reselling to retailers. Some retailers have tried to put in place mechanisms to prevent bots from buying up every available machine, but as we’ve seen all year long these reactions have been more miss than hit.
A handful of Xbox Series X and PlayStation 5 consoles being offered for sale via a popular auction website. Prices are easily approaching twice the recommended retail price for both machines.
In terms of games, both Microsoft and Sony – as well as practically all third-party developers – have pursued a year-long policy of making titles available on last-gen consoles as well as the two new machines. Only a handful of titles have been true exclusives, with PlayStation games like Ratchet and Clank: Rift Apart and Returnal carrying their flag. Microsoft fans have to be content with basically no exclusives right now, with games like Forza Horizon 5 and the upcoming Halo Infinite also launching on PC and Xbox One.
Might there be some buyers’ remorse among PlayStation 5 and Xbox Series X players? I would think so – especially if they paid over the odds for their console to an eBay scalper. Neither machine feels like particularly good value even at their recommended retail price, let alone at the prices folks have actually had to pay to get their hands on them! The handful of exclusive games are backed up by “enhanced” versions of last-gen titles, but in many cases I’ve genuinely struggled to tell the difference between different consoles’ versions of the same title. The improvements on offer over the past year have come in terms of things like frame rate – jumping to 60fps from 30fps for certain titles – and then in comparatively minor areas like controller battery life. These things are hard sells.
The PlayStation 5 DualSense controller.
There have been some changes over the past year, though. Microsoft’s aggressive pursuit of the Game Pass model represents great value for players on a budget, opening up an entire library of titles for a relatively low monthly fee. Sony still hasn’t caught up and doesn’t have a functional Game Pass competitor yet. Both companies have also made big moves into supporting PC gaming – with games that were once PlayStation exclusives making their way to a new platform. In lieu of having enough PlayStation 5 consoles to sell, perhaps that’s something of a consolation prize for Sony!
Overall, I can’t even be generous enough to call the past year a “mixed bag.” There are far more negatives than positives as I see it, and unless both companies can get to grips with the supply and demand issue, this Christmas will be the second in a row where folks are either going to have to pay silly money for a new console or go without. That isn’t a good look, and the longer these problems drag on the worse it will get for the reputations of both Sony and Microsoft.
Last year I felt that it was wrong to launch the PlayStation 5 and Xbox Series S/X given the low levels of stock and the myriad other issues that a pandemic-riddled world was facing. The past twelve months have done nothing to change my mind or convince me I was wrong about that. Inadequate manufacturing capacity has kept both consoles out of too many players’ hands, and those who did succeed at getting a pre-order – or more likely who paid close to double the price to a scalper – have found a perishingly small number of exclusive games on a machine that doesn’t feel like much of an improvement over the last generation. The Xbox Series S/X and the PlayStation 5 have potential – but over the past twelve months, neither have come close to reaching it.
Xbox and all other related properties mentioned above is the copyright of Microsoft. PlayStation and all other related properties mentioned above is the copyright of Sony. This article contains the thoughts and opinions of one person only is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-3 and the trailers for Season 4. Spoilers are also present for Star Trek: Picard Season 1.
Star Trek: Discovery’s fourth season is now only ten days away! I haven’t seen as much buildup online and on social media from Star Trek and ViacomCBS as happened last year; I think the concurrent broadcast of Prodigy is taking up a lot of time and energy for the franchise’s social media team. Perhaps that’s a lesson for Star Trek to learn going forward – they need to find the right balance of promoting different shows with so many projects on the go simultaneously! As the season approaches, though, I hope to see a bigger and better marketing and promotional push.
Despite all of that, we did get some new information about Discovery Season 4 recently: the first four episode titles! On this occasion I thought it could be fun to take a look at all four and wildly speculate about what they could mean! We might be able to gleam something, after all!
There are also four new photos that have been shown off along with the episode titles – one from each of the first four episodes. So we’ll also look at each of those images in turn to see what might be going on, and to see how it might connect with the episode title!
The USS Discovery in the second Season 4 trailer.
Last season, Discovery was far more generous! We got episode titles for the entire season revealed in advance, as well as short synopses for the first few episodes. That info-dump gave us a lot to mull over as the season approached! However, at the end of Season 3, the final three episode titles were changed at the last minute. Su’Kal was originally going to be titled The Citadel – perhaps a reference to his holographic castle. There Is A Tide was originally going to be titled The Good of the People – which may be a reference to Osyraa and Admiral Vance’s negotiations. And finally That Hope Is You, Part 2 was originally titled Outside – seemingly because Su’Kal would finally get to see the world outside of his holographic realm for the first time.
So don’t consider all of these episode titles to be set in stone! Discovery has a bit of a track record when it comes to making changes on the fly, so it’s possible any of these titles could be changed between now and when they’re broadcast. But for now, let’s take a look at each of the first four episodes in turn and see what we can gleam.
Episode 4×01:Kobayashi Maru
The teaser image.
This is the title that jumped out at me the most – and I’m sure I’m not alone in that! Kobayashi Maru refers to the famous Starfleet Academy test for command cadets, and it’s a no-win scenario. The Kobayashi Maru test was first seen in Star Trek II: The Wrath of Khan, where we saw Saavik attempt the test. It has been referenced on a handful of occasions in the franchise since, and we got to see Kirk’s famous outside-the-box “solution” in 2009’s Star Trek.
So if Kobayashi Maru is bringing all of this to mind, what might that mean for Captain Burnham and the crew of the USS Discovery? Presumably they’re about to encounter their own no-win scenario – but will this be related to the gravitational anomaly? The Kobayashi Maru test doesn’t involve space phenomena, but a battle against enemy starships – so I wonder if the season opener might see Captain Burnham and the crew engage in some kind of battle.
The aftermath of a Kobayashi Maru simulation!
The Kobayashi Maru test was famous for “killing” people – and was a test to see how command candidates handled the ideas of death and losing those under their command. The dark implication from this could be that a member of the crew will be killed; this would be a very bold way to kick off the season.
Fundamentally, the Kobayashi Maru test was designed to put cadets through their paces to see if they were cut out for the rigours of command. Kobayashi Maru will be the first episode of Discovery with Michael Burnham in the captain’s chair, so this could be her trial by fire, and we could learn more about her abilities and perhaps even her limitations as a captain.
Michael Burnham in the captain’s chair.
Based solely on the title of Episode 2, which we’ll look at momentarily, my suspicion is that Captain Burnham won’t encounter the gravitational anomaly in this episode – or if she does, it will come at the end, perhaps teeing up Episode 2 with a cliffhanger ending. If I’m right about that, something else might be happening to put her command abilities to the test – or to present her with a no-win situation.
Seasons 2 and 3 of Discovery opened strongly, with episodes that did a good job of establishing the main storylines that were to come. Remembrance, the Season 1 premiere of Star Trek: Picard, likewise did a great job in that regard. So I’m optimistic that Discovery Season 4 will open strongly – and based on the title of the premiere episode I’m genuinely interested to see what will happen!
A closer look at President Rillak in the teaser image.
The teaser image, shown above, shows a new character who we know to be Federation President Rillak being applauded by a group of people who are wearing what seems to be a new variant of the 32nd Century Starfleet uniform that debuted last season. She’s standing at a podium looking over her shoulder, perhaps to see some kind of presentation being shown behind her.
My first thought was that the assembled people could be Starfleet cadets – in which case the title Kobayashi Maru might simply refer to Academy cadets taking the actual test. Perhaps Captain Burnham, Saru, or someone else has been working with Starfleet Academy to bring in more officers as the Federation gets back on its feet. In the background of the image I spotted a Ferengi; there was a Ferengi captain seen in the second Season 4 trailer, so this could be the same character. If that character is a captain, perhaps the people in the image aren’t cadets.
Episode 4×02:Anomaly
The episode’s teaser image.
This one has a very simple title – but it’s a title that could open up so many different possibilities! This episode seems almost certain to introduce the gravitational anomaly that the trailers have shown off, so I think we can expect to learn what kind of threat it poses, as well as perhaps seeing Captain Burnham and the crew encounter it for the first time. My suspicion is that the USS Discovery will be the first Federation vessel to make contact with the gravitational anomaly, and will then return to Starfleet with the news, but we’ll see.
The title Anomaly could also have a secondary meaning, such as referring to the anomalous presence of Gray, or to someone acting in an out-of-character manner. Discovery has played with double-meaning episode titles more than once, so I won’t be shocked if there’s a second “anomaly” of some kind that rears its head in this episode!
The USS Discovery approaches the gravitational anomaly.
In the days ahead, before we hit the season premiere, I’ll be writing up all of my big pre-season theories. But if you want to check out my initial thoughts on the gravitational anomaly from when it first appeared in the first Season 4 trailer, you can do so by clicking or tapping here. A few of my ideas about the anomaly and its possible causes are still in play, and even though I think it’s more likely that Discovery will tell a wholly unique story rather than one which connects back to a past iteration of Star Trek, part of me hopes that we might see some kind of connection with the Borg, the super-synths from Star Trek: Picard, or something like that.
The teaser image for Anomaly shows a depressed-looking Book at the console on his ship, being comforted by Michael Burnham. Book has that “thousand-yard stare” that’s often associated with post-traumatic stress. His look could also be one of defeat or even resignation, but clearly something bad has happened.
A closer look at Book’s expression.
Michael Burnham being the one to offer comfort suggests that this is something that hurts Book more than it hurts her, otherwise the roles would either be reversed or we might see them drawing on one another for emotional support and comfort. Book has attachments to his homeworld of Kwejian, the tranceworms, and of course the beautiful cat Grudge. I certainly hope nothing bad has happened to the kitty! As I said in my rather morbid list of death predictions, though, Grudge is kind of the show’s mascot so I don’t expect she’d be in harm’s way.
That leaves Kwejian and the tranceworms as possible candidates; perhaps one or both has suffered due to the gravitational anomaly. Book could also have heard bad news from someone he knew from his time as a courier – perhaps some character we haven’t met yet has been harmed by the gravitational anomaly. It’s also possible that whatever’s happened to Book has nothing to do with the anomaly and that this will be a side-story for him and Burnham.
Grudge made an appearance in the second Season 4 trailer.
The brief glimpses we’ve seen of Book in the trailers didn’t show him sitting around looking sorry for himself, so whatever has happened to him is something he’ll be able to move past – somehow. But clearly at this moment he’s suffering, and it’s sweet to see Burnham being there for him. One of my hopes for the season is that their relationship will remain solid; Burnham has been on a bit of a ride with Ash Tyler, so giving her a settled relationship will be good for her character.
Book’s ship seems largely undamaged in the image, so if it had an encounter with the gravitational anomaly it seems to have survived! The little craft proved its worth in Season 3, saving the USS Discovery, taking Burnham on a side-mission, and later navigating the Verubin Nebula. It would be nice to see more missions involving Book’s ship in Season 4.
Episode 4×03:Choose to Live
Teaser image for Choose to Live.
Choose to Live is a pretty vague-sounding title that could lead to all kinds of different themes and storylines. Obviously Captain Burnham and everyone else involved in the mission to defend against the gravitational anomaly would “choose to live” as opposed to giving up and choosing to just lay down and die! But the phrase implies effort – that choosing to live and tackling the problems in front of them will be a significant challenge for the crew to overcome.
It’s possible that this episode could see some kind of “resurrection” storyline; that someone who was considered to be dead will make a comeback, or that someone will be revived from the brink of death. The second Season 4 trailer showed Michael Burnham in sickbay with a worried-looking Grudge and Book by her side, so perhaps an injury or ailment that she suffered will be part of this episode’s storyline.
Captain Burnham will end up in sickbay… somehow!
The teaser image shows Captain Burnham sitting at a desk across from two characters who I believe are Ni’Var’s leader T’Rina and Federation President Rillak. Admiral Vance is also present, standing to Burnham’s left looking stern. This could be an extension of the scene we saw in the second trailer, where President Rillak appeared to be disciplining Captain Burnham or at least giving her a verbal dressing-down.
The presence of the leader of Ni’Var may suggest that they’re involved in some way, or that Captain Burnham and the crew will be visiting Ni’Var somewhere around this episode. With Ni’Var seemingly on the cusp of rejoining the Federation, this could be a mission connected to that – perhaps some kind of final push to bring Ni’Var back into the fold. Or it could be that Captain Burnham has done something to upset Ni’Var, and that could be the reason why President Rillak seemed to be so upset with her in the trailer.
Federation President Rillak will be a brand-new character in Season 4.
The image places this scene at Federation HQ, and the inclusion of Admiral Vance and President Rillak suggests that this could be a mission briefing or debriefing. Burnham could be telling them about the gravitational anomaly and the damage it’s caused, or they could be telling her about it and ordering her to track it down and learn more about it. Ni’Var has a strong history with science, so perhaps T’Rina is there to offer Ni’Var’s help or even just information.
Captain Burnham looks serious in this image, but I wouldn’t say she looks horribly upset or offended as she might if she were on the receiving end of a three-person attack. This may simply be either the buildup to a mission or Captain Burnham returning to tell the senior figures of her findings.
Episode 4×04:All Is Possible
The episode’s teaser image.
This is another ambiguous title that could lend itself to many different kinds of story. In the context of the gravitational anomaly, this could perhaps be a reference to different possibilities at its event horizon, or how the anomaly itself changes or damages spacetime.
However, my inclination on seeing this title and its teaser image is to say that this might be an episode that sidesteps the main storyline of the season and puts its focus elsewhere. Adira is present in the teaser image alongside Tilly, and one additional storyline that we know will be part of Season 4 is Adira and Gray’s quest to allow Gray to become corporeal again.
Gray and Adira at the end of Season 3. Could this episode be about them?
All Is Possible may mean that there will be a breakthrough in Gray’s visibility – perhaps the scientifically-minded Tilly will be helping Adira with that very problem, and this episode will see some significant advancement. I’m not sure if we’ll see Gray’s visibility definitively settled this early in the season – it feels like a story that could easily rumble along in the background all the way to the season finale. But this episode could be a major step on that journey.
I don’t recognise the location where Tilly and Adira are shown in the image. There seem to be several other Starfleet officers present – all wearing the red uniforms of the command division – so this could be at Federation HQ. It could also be aboard the USS Discovery, but I think the lighting doesn’t look quite right for that; these lights are brighter than the dim lights typically seen aboard the ship. However, one thing I’d like to see this season is some kind of visual changes or upgrades to the USS Discovery internally. Last season saw the ship undergo a major refit – yet that doesn’t seem apparent from its interior! So maybe this is one new area of Discovery that we haven’t seen before.
A closer look at Tilly in the teaser image.
Behind Tilly and Adira we can see some kind of small vessel, but not one I recognise. It’s hard to tell from this angle and with people blocking parts of it, but it almost looks like a circular craft – a kind of flying saucer-type design! It could also be a shuttlecraft or even an escape pod, and it may be entirely unrelated to the plot and just there for set decoration!
Tilly’s smile in the image appears to be genuine, but I’m not convinced about Adira’s! They may be less impressed with whoever they’re listening to – a person who appears to be just out-of-frame. My guess is that they’re having to listen to someone senior – who probably doesn’t know too much about science or engineering – talking to them about a technical topic! Interestingly, Adira and Tilly appear to both hold the rank of lieutenant. Tilly’s promotion was definitely well-earned – but I wonder if Adira somehow skipped being an ensign!
So that’s it.
The new season will be here very soon!
Those are the first four episode titles and teaser images, along with my thoughts and guesses about what might be taking place. As always, I caveat this by letting you know that I have no “insider information” and all of this is pure speculation from a fan of Star Trek – and nothing more! It’s possible – or rather, incredibly likely – that all of this is utterly wrong. But regardless, it was fun to speculate as the new season approaches.
We got a tiny glimpse of the first part of Season 4 today, but I didn’t see anything in the images or episode titles that I felt was a major spoiler. What we got was just a little bit more to sink our teeth into while we wait for the season premiere in just ten days from now! When the season kicks off I hope you’ll join me here on Trekking with Dennis for reviews of each episode, fan theories, analysis, and much more!
Star Trek: Discovery Season 4 will premiere on Paramount+ in the United States on the 18th of November 2021, and on Netflix in the United Kingdom and elsewhere on the 19th of November 2021. 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.
A few months ago I wrote an article about how space exploration has become boring. The title was deliberately provocative, and of course it goes without saying that I’m approaching the subject from the point of view of a layman. But the point I made stands – it’s been a very long time since any mission to space, and even longer since any crewed mission to space, was of anything more than minor interest.
Many space missions in recent years saw unmanned probes launched, satellites placed into orbit, and the only missions with crews aboard visited the International Space Station. The ISS is without doubt an amazing feat of technology and engineering – but after more than two decades of permanent inhabitation, it’s long since lost much of its interest from the point of view of the layman. Scientifically and technologically space continues to be very important, but for me – and many other folks as well – it’s no longer the inspirational, aspirational place it once was.
The International Space Station.
Partly that’s a consequence of the scaled-back nature of crewed missions, the budget cuts space agencies have faced since the end of the Cold War and its associated space race, and perhaps the difficulty, expense, and length of time required to undertake missions to places we’ve never been before. But regardless of the cause, missions to space in the real world have lost much of their lustre over the decades, and no longer feel as special or as interesting as they once did.
But William Shatner’s recent trek to space was different. Even an old cynic like me felt genuine awe and wonder at the idea that Shatner – Captain Kirk himself – was actually going into space. For decades, journeys to space were the exclusive purview of a tiny number of well-trained air force pilots and scientists. Just getting into the astronaut or cosmonaut programmes required either a career as a high-flying ace fighter pilot or a doctorate in a relevant scientific field. There have been attempts to put spaceflight within reach of more people – Christa McAuliffe, who died in the Space Shuttle Challenger disaster, was set to be the first teacher to travel into space. But generally speaking, becoming an astronaut and travelling to space was out of reach for practically all of us.
William Shatner aboard Blue Origin’s NS-18 mission.
People like Elon Musk and Jeff Bezos have talked in vaguely-defined terms about future missions to space or to Mars that would bring along more civilians and regular folks, but those missions seemed like a long way off. Then came missions in the last couple of years taking paying passengers – but at such a high cost that space felt like a playground for the billionaires’ club and was still beyond the reach of most ordinary people.
William Shatner’s space flight has gone a long way to challenging all of those perceptions. There’s something truly inspirational about the idea of Captain Kirk actually going into space; just writing those words feels incredibly surreal. This character was at the head of a television show and a franchise that, for more than half a century, has done more than any other to inspire people to look to the stars and to look to a future where space travel will be something anyone can participate in. And here he was, actually making that dream a reality in the real world.
Shatner with his crewmates.
It’s impossible to overstate the importance of Star Trek as an inspirational franchise. Generations of people have watched the series and been inspired by its message, its morals, its optimism, and its technology. The franchise has a track record of bringing its technologies to life – everything from tablet computers, wireless communicators, video calling, and more were “predicted” by Star Trek before becoming a reality. And perhaps that’s what makes William Shatner’s space flight so inspiring – he made the dream of going to space come true as well. There’s hope that, if Captain Kirk can actually travel into space, as Star Trek depicted all those years ago, perhaps the rest of us can too.
Not to be impolite, but at the age of 90, William Shatner isn’t in the prime of his life in terms of his physical condition. He looks great for 90, don’t get me wrong, but there’s a bit of a belly, a few too many wrinkles, and the ever-present toupée! But I’m not here to criticise any of that – because it’s those things that make his journey to space even more astonishing and aspirational. Not only is Captain Kirk himself in space, but here’s someone who’s older than any previous space traveller, who isn’t in the best shape of his life, and yet still it was possible to undertake that incredible journey. By simply being who he is, Shatner has once again inspired millions of folks who might’ve felt space travel was beyond them. Perhaps they felt they were too old, or they have a health condition, or something else. But seeing William Shatner at age 90 boarding that rocket and floating around up in space demonstrates to all of us that such a journey might be possible after all.
William Shatner and his crewmates boarding their spacecraft.
To me, that’s the success of this latest mission to space. For the first time in a very long time, a crewed space mission managed to get me genuinely excited and emotional; I felt I was sharing that moment with William Shatner and the others aboard the rocket. His sense of awe and wonder was so genuine, and the way he spoke and conveyed how it felt was passionate and beautiful.
There are still issues with space travel. The fact that it costs such an insane amount of money is going to be a barrier for a lot of people. But that was true of many inventions from the motor car to the aeroplane, and now those methods of travel are available to many more people than they were when they were first invented.
The idea that Captain Kirk could actually go into space has captured the public imagination in a unique way.
It feels like we’re on the cusp of a new age of space exploration. No longer will space be the exclusive realm of government-funded agencies, gated off to all but a select few people who were privileged enough to be able to head down the perfect career path. Commercial spaceflight has the potential to open up space to untold millions of people – and not just for short fun jaunts either. Orbital hotels, moon colonies, the exploration of Mars, and so many more things all feel one step closer today than they did just a few short weeks ago. That isn’t William Shatner’s doing – Blue Origin, SpaceX, and other companies have been building up to this moment for years. But once again, William Shatner brought space to the fore and captured the public’s imagination in a way that only he could.
I have no time for the naysayers. Prince William, one of the last wriggling vestiges of a dying aristocratic elite, had the audacity to criticise Shatner’s spaceflight shortly after he returned to Earth, saying that we should focus our energies on fixing climate change, not racing to colonise new worlds. But why can’t we do both? And not only that, but there’s more to fighting climate change than getting to the precious “net zero” that seems to be the fetish of our current crop of leaders. Space can offer solutions – harvesting solar energy, for example, capturing carbon and removing it from the atmosphere, or even building solar shades to shield parts of the Arctic and Antarctic are among many hypothetical ways that missions in space could have a real-world impact. And for all of the criticisms I made earlier of space exploration and missions to the ISS feeling boring from the layman’s perspective, the scientific advances they provide have already made an impact here on Earth.
William Shatner looking down at Earth from space.
For the first time in a very long time, a real-life mission to space managed to capture my attention – and showed off to millions of people that the dream of space travel, embodied by television franchises like Star Trek, hasn’t died. There’s the real and genuine potential to repeat this feat, and as technology continues to improve and costs come down, maybe spaceflight will be within reach of the average person sooner than we might expect.
All William Shatner did was accept an invitation and take his seat. But that simple act, and the wonderful reaction he had to it, was life-changing – and not just for the man himself. Just as he did in the 1960s when he commanded the starship Enterprise, William Shatner has once again inspired people all over the world, showing us that it isn’t futile to look to the stars.
Some images used above courtesy of Blue Origin via YouTube. 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 Wicked.
It’s just been announced that the popular musical Wicked is getting a film adaptation – and I think that sounds like a brilliant idea! Wicked is exactly the kind of musical that should make for a wonderful work of cinema, and it’s amazing in a way that it’s only now, almost twenty years since it made its Broadway debut, that a film adaptation has been greenlit. You’d think it might’ve happened sooner!
I was very fortunate to see Wicked when it came to London’s West End (the name for the city’s theatre district) in 2006. Idina Menzel – better known in recent years for her role as Elsa in Frozen and Frozen II– played the lead role, and I feel incredibly lucky to have seen her perform live. There’s something about seeing a musical like Wicked on the stage that really elevates it and makes it incredibly memorable – I miss being able to go to the theatre far more than I miss the cinema sometimes.
Idina Menzel in 2007’s Enchanted. She played the role of Elphaba in Wicked on the stage.
We can’t talk about Wicked without at least acknowledging its popular progenitor: the 1939 film adaptation of The Wizard of Oz. L. Frank Baum’s series of children’s books about Oz had been popular in the early part of the 20th Century, but the film adaptation of The Wizard of Oz is still what most people bring to mind first when they think about the fantasy setting. The film is an icon of cinema, and is responsible not only for the continued popularity of the setting, but was also hugely influential in the creation of the 1995 book Wicked: The Life and Times of the Wicked Witch of the West – upon which the popular musical is loosely based.
If you’re interested in a novel about existentialism and that deals with adult themes like cruelty and the treatment of people who are perceived as “different,” then check out Wicked: The Life and Times of the Wicked Witch of the West. It’s a difficult, dense, and occasionally harrowing read – one that’s very different in many ways from the musical that it inspired. But it’s a fascinating look at the concept of a genuine outsider – and takes the Wicked Witch (who its author names Elphaba, in honour of L. Frank Baum) to completely different thematic places. Far from being a one-dimensional cackling villain, she’s given nuance and understandable motivations for behaving the way she does.
Cover for the 25th anniversary edition of the novel Wicked: The Life and Times of the Wicked Witch of the West.
I came to the book after having seen the musical – I believe I bought my copy then and there in the theatre – and I was genuinely shocked at the complex themes and adult tone. Wicked is a beautiful musical, but many of the novel’s subtler themes are lost amidst the glitz, glamour, and greasepaint of the stage production.
Given today’s entertainment and media landscape, I feel all but certain that the film adaptation of Wicked will touch on these darker themes. An examination of what it means to be looked down on, mistreated, and pushed to breaking point are all themes which the novel encourages readers to consider, and while they may have felt too dark for a stage play in 2003, for a film in 2021 they feel pitch-perfect. Audiences have come to expect dark deconstructions of classics – and Wicked absolutely fits that mould.
Advertisement for Wicked outside the Apollo Victoria theatre in London circa 2006. Photo Credit: Trekking with Dennis.
Wicked can also be seen to follow on from Disney productions like Maleficent and Cruella as a film that will make the villain its star. The Wicked Witch of the West is most famous for her villainous role in The Wizard of Oz, but Wicked puts her centre-stage and tells her story through a generally sympathetic – or at least understandable – presentation. It’s a deliberate twist on The Wizard of Oz, flipping the script to show heroes as villains, villains as heroes, and the grubby shades of grey in between both.
Nuance, shades of grey, and supposedly-realistic depictions of individuals are what has driven modern cinema – and modern entertainment in general. Audiences don’t want or expect to see “boring” heroes who are totally perfect and virtuous, nor villains who are purely evil for the sake of it. The ideas that there are two sides to a story, and that which side we root for is entirely dependent on who’s telling the story, are intrinsic to the source material of Wicked – and I’m sure that’s one of the most appealing things about the project to its writers, producers, and director.
The film adaptation will be a musical, so we can expect at least some of the stage production’s classic hits to reappear. Defying Gravity is the show’s standout song, and it closes the first act in the theatre. Encapsulating a sense of individualism, self-reliance, and of course defiance, the powerful ballad sees the Wicked Witch set her choice in stone and fully commit to her rebellion against the Wizard.
Seeing Defying Gravity performed live is something I’ll never forget, and perhaps some folks will say that no cinematic adaptation of that scene could ever live up to its stage equivalent. But I’m more than willing to give it a chance – today’s cinematic visual effects are improving in leaps and bounds, and I’m genuinely intrigued to see what a film with a big budget can make of that exceptional moment.
There can be a snobbishness to stage productions and the theatre, and perhaps this should be a longer discussion on another occasion. But as someone whose disability now precludes theatre visits, I get sick to the back teeth of hearing that a stage production is “irreplaceable” and that “one simply must see a production live” to get the best effect. The theatre has been beyond the reach of many people – physically and financially – for a long time, and there’s nothing wrong whatsoever with cinematic adaptations. If anything, Wicked will reach far more people in the weekend after its release as a film than the stage production has been able to in almost twenty years – and bringing such a powerful and beautiful production to more people and spreading art around should be celebrated, not denigrated.
But we’re drifting off-topic, and that discussion may be best saved for a longer article on another occasion.
There have been a number of attempts over the years to return cinema-goers to the Land of Oz. 1985’s Return to Oz was a financial flop – albeit one that has since picked up a bit of a cult following. I personally enjoyed what 2013’s Oz the Great and Powerful brought to the table, and that film fared significantly better in financial terms – but wasn’t much of a hit with critics and reviewers. But no title since The Wizard of Oz can be said to have truly succeeded at bringing in audiences to the Land of Oz; Universal Pictures and director John M. Chu are clearly hoping to change that.
Mila Kunis and James Franco starred in Oz the Great and Powerful in 2013.
Wicked will have a lot of buzz around it simply because of the success of the musical. The stage production is one of the most successful musicals of all time, and aside from closures due to the pandemic has been running continuously since its 2003 inception. A lot of fans of the stage musical – myself included – will be very curious to see what the film adaptation will bring to the table.
The casting of pop music superstar Ariana Grande as Glinda and Cynthia Erivo as Elphaba has also raised a lot of interest. Grande’s name in particular will be a big draw, and while I’m not terribly familiar with her acting work there’s no denying she’s an incredible talent when it comes to singing.
Wicked is one of those projects that you almost feel should have been made already! The source material – both the book and musical – are so great and so genuinely different that it seems like a no-brainer. Apparently the project has been kicked around for some time, languishing for a while in the dreaded “development hell” before being officially greenlit. But now that it’s official, I think it’s absolutely something to look forward to.
There have been some high-profile musical misses in recent years. 2019’s Cats adaptation shows just how badly wrong a film can go, and also proves that big names are no guarantee of success. Cats should be a warning to the producers of Wicked – and a warning to anyone involved in cinema in general, but that’s beside the point! As long as Wicked can avoid the numerous problems and pitfalls which befell Cats… actually scratch that, it’s too low of a bar. Let’s just say that I hope Wicked will be a success!
So that’s all, really. The film is in pre-production and we won’t see it any time soon. But it’s one to keep an eye on – I think it has a lot of potential.
The novel Wicked: The Life and Times of the Wicked Witch of the West is the copyright of Gregory Maguire and/or HarperCollins. The musical Wicked – including its songs Defying Gravity et al. – is the copyright of Stephen Schwartz and Winnie Holzman. The film adaptation of Wicked is the copyright of Universal Pictures. 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 2, and Star Trek: Voyager.
There have been a number of interesting-sounding pitches and concepts over the years for potential Star Trek series and feature films, and we recently looked at the possibility of a Starfleet Academy series. That sounds like something with potential, and you can check out my thoughts by clicking or tapping here.
But not all Star Trek pitches are created equal, and another potential series has been touted in the last few months by former Star Trek: Voyager actor and director Robert Duncan McNeill. He recently confirmed on social media that he’s pitched a Captain Proton show to ViacomCBS, though details about what the potential project would entail are light. Having touched on this idea on a couple of occasions in other contexts, I wanted to give the pitch more of an airing and put my thoughts in order.
A Captain Proton show has been proposed.
You’ve probably already figured out from the title of this piece where I come down on a Captain Proton show: I’m not in favour of it and I can’t really see a way to bring it to screen successfully. I’d even go so far as to say that I highly doubt ViacomCBS will consider this pitch for very long, despite the known name attached to it, and though there are a few reasons why – which we’ll go into detail about – it boils down to one simple question for Trekkies. And here it is:
Out of everything in Star Trek, is Captain Proton the one thing you want more of?
There are many characters, locations, starships, and themes that the franchise could return to one day. Off the top of my head here are five: a visit to the Enterprise era to see more of the Federation’s early years, the return of Benjamin Sisko from the realm of the Prophets, Neelix’s adventures at the Talaxian colony, Pavel Chekov’s days as an admiral or elder statesman, and John Harriman’s missions as captain of the Enterprise-B.
Maybe one day…
You can probably think of dozens more; characters and concepts that the Star Trek franchise could happily revisit. I would bet actual money that, for 99% of Trekkies, Captain Proton wouldn’t even enter the top fifty on their lists of things that they’d be interested in returning to. And I’m in that same boat. The ten Voyager episodes which either featured or made reference to Captain Proton were fun – but the concept is simply not strong enough nor memorable enough to carry an entire series on its own.
I like retro sci-fi – the likes of Flash Gordon, Forbidden Planet, and other older shows and films from long before Star Trek: The Original Series was even conceived are what Captain Proton paid homage to and gently parodied so well in Voyager. As one element of a larger series, a series with a much bigger picture and broader scope, Captain Proton worked. It slotted in well and gave the cast something different to do – and a chance to really ham it up and over-act.
Captain Proton was a pastiche of classic sci-fi films and serials like Flash Gordon.
But that’s the nicest thing I can say about the Captain Proton stories and sequences that we saw in Voyager. Out of that show’s 170 episodes, Captain Proton is far from being the most memorable aspect even among stories set on the holodeck; I’d go so far as to suggest that the Irish village featured in Fair Haven and Spirit Folk left more of a lasting impression. Those episodes certainly had far more depth than any Captain Proton story.
There’s a lot that we aren’t privy to when it comes to the recent Captain Proton pitch. Is it intended to be a 1930s-inspired black-and-white series, featuring the cardboard sets and overacting we’d expect from such a sci-fi serial? If the show wants to be purely about Captain Proton, either treating him as if he were real or showing us as the audience a kind of “show-within-a-show” look at Captain Proton through the eyes of a holodeck audience, then it has to be considered dead on arrival. A retro-inspired sci-fi aesthetic might be cool, but every other aspect of such a show would feel so terribly out-of-date that it would become a laughing stock.
A laughing stock indeed…
On the other hand, if the Captain Proton series is actually intended to be a look at Tom Paris as he writes new Captain Proton holo-novels years after the USS Voyager returned to Earth, then perhaps there’s a bit more meat there; more of an actual concept with the potential for characterisation and drama.
I’m still not sure that it would work, but at least the latter concept has a bit more going for it. Firstly, it could be developed as a tie-in or crossover with Star Trek: Picard – or any other show or film set in that era. With Seven of Nine now a regular member of the Picard cast, the potential for a reunion with Tom Paris and perhaps B’Elanna Torres as well would be of some interest. Paris and Seven didn’t have a lot to do together during Voyager’s run, but Seven clashed frequently with B’Elanna, especially during her first year or so aboard the ship. There’s potential, perhaps, to revisit that relationship and see how things have evolved over the years – we know from Picard Season 1 that Seven of Nine has changed and become far more human in that time.
Seven of Nine has returned in Star Trek: Picard.
But I think that’s about as far as a Captain Proton show could go, and I don’t think we necessarily need a standalone project in order to bring back characters like Tom and B’Elanna. Perhaps they wouldn’t be the best fit for Picard, but they could certainly make an appearance in a future episode or film. Tom Paris has already had a cameo in Lower Decks, and while that was a bit of a nothing-burger from my perspective, I’m not totally against the idea of the character making future appearances in Lower Decks or any other Star Trek project.
When Michael Dorn revealed he’d pitched a Captain Worf series a while ago, I felt that the character might not be strong and well-rounded enough to carry an entire series on his own. And unfortunately Tom Paris is in that same category. Paris was an excellent character, don’t get me wrong, and I enjoyed what he brought to Voyager. But he was frequently used as comic relief – making a joke to lighten the mood in a tense situation. The spotlight episodes he got showed off the altruistic side of his personality, his love of retro things, and his piloting skills. And we also got to see his relationship with B’Elanna develop over the show’s run.
B’Elanna Torres and Tom Paris eventually got married.
Tom Paris is far from one-dimensional. But he’s also not the kind of character who could easily play the main role – and if the intention behind this pitch is to create a Tom Paris series I fear it would end up meeting the same fate as Joey, the short-lived spin-off from popular sitcom Friends.
Tom Paris has a satisfying character arc already. Voyager began with him at rock bottom – a prisoner and an abject failure. He failed as a Starfleet officer, then failed on his first mission as a member of the Maquis. Out of everyone on Captain Janeway’s crew, Paris had the least to lose and the most to gain after getting stranded in the Delta Quadrant, but even so he rose to the occasion to become a dependable and honourable member of the crew, quite literally guiding the ship home.
Tom Paris has had a truly satisfying character arc already.
So we’ve already seen Tom Paris’ character arc. By getting lost in the Delta Quadrant he found meaning and purpose in his life, he found the love of his life, and he gained redemption for his past misdeeds against Starfleet, against the Maquis, and even against his father. If his career path glimpsed in Endgame is any guide, his future is one of artistry and leisure, putting his adventures behind him to focus on doing the things he loves.
In short, we know Tom Paris quite well, and any addendum to the story that we’ve already seen play out would risk feeling tacked-on. At worst it could upset and even undermine aspects of his character arc across Voyager’s run depending on what direction the story was taken. Having spent seven years with Tom Paris – albeit in a supporting role – I’m quite content to say that his time in Starfleet ended with Voyager’s return to Earth and he’ll spend the rest of his days happily married, working on holo-novels and playing with classic cars. I don’t think we need to see any of that to believe that it happened – and it’s deeply satisfying after the long and arduous journey that the USS Voyager took to know that at least some of the characters we came to know and love did in fact get their “happily ever after.”
Promotional photo of Tom Paris.
Unlike Seven of Nine, who had so much to gain personality-wise as she spent more time away from the Borg Collective, Tom Paris’ characterisation feels settled. As we saw in scenes set in the future in Endgame, he didn’t change much in the years after his return from the Delta Quadrant – and we wouldn’t have expected him to.
All of this assumes that Tom Paris was supposed to play a role in this pitched series at all, and that may not be the case. But regardless I think it’s worth considering that what makes for an enjoyable and lovable character – which Tom Paris certainly was – doesn’t necessarily translate to a character being suited to take a lead role. This is true of Worf and it’s true of Tom Paris – both played outstanding supporting roles, but neither should be tapped to lead their own spin-off.
Worf is another character about whom a series has been proposed.
After having spent years playing the same characters, I can fully understand why Robert Duncan McNeill and the rest of the Voyager cast enjoyed their sojourns to the world of Captain Proton. It was a chance to take on a different acting challenge, and to revel in a style of cinematography, acting, and storytelling that just doesn’t get produced anymore.
But there’s a reason why the likes of Forbidden Planet and Flash Gordon were superseded: technology, acting skills, and storytelling improved. Some of those improvements in the world of sci-fi actually came from Star Trek: The Original Series blended different genres and styles together, kept a tight focus on its main characters, told stories with real-world parallels and morals that audiences could relate and respond to, and depicted a vision of the future and outer space that was far more positive and hopeful than negative and fearful.
These kinds of serials were outdated by the middle of the 20th Century.
Retro can be fun. But to make a straight-laced Captain Proton television series wouldn’t just feel retro – it would feel regressive. Such a show would be a massive backwards step, trying to ignore multiple generations’ worth of improvements in everything from narrative and world-building to acting skills and cinematography.
More than that, a Captain Proton series would have incredibly limited appeal. Many fans of Voyager would be hard-pushed to remember Captain Proton, and even those that do and have fond memories of the episodes would be surprised at the very least to hear talk of a Captain Proton spin-off show. Beyond that minuscule niche, a Captain Proton series might appeal to fans of classic, retro sci-fi. But such folks are few and far between, and when Captain Proton already felt incredibly dated in the 1990s, the number of viewers who would genuinely appreciate the parodies and references is positively microscopic.
It almost certainly is for Captain Proton.
Even if Captain Proton were less about the retro sci-fi and more about Tom Paris, I don’t think that would work well either. There must be a queue of characters from past iterations of Star Trek lining up for their prospective returns to the franchise, and while Paris was a fun character during Voyager’s run, he simply isn’t strong enough or deep enough to carry a whole series. His recent cameo in Lower Decks kind of embodies that – the character could have been swapped out for any other, or a generic stand-in, and the episode would have been functionally the same.
At the end of the day, this concept comes down to the simple question I posed at the beginning of this article: out of everything in Star Trek, is Captain Proton the one thing you want more of? Or to put it another way: if you could choose only one thing from a past iteration of Star Trek to bring back, is Captain Proton what you’d choose? For the vast, vast majority of Trekkies, the answer would be a resounding “no.”
I don’t believe ViacomCBS will do more than give this pitch a cursory glance out of respect to its creator. Both possible formulations have major drawbacks, and from a corporate point of view neither seems to hold much appeal even to Star Trek’s fanbase – let alone a wider television audience. At the end of the day that’s what sells companies on making a new film or television series: how much money would it make? An incredibly niche project focusing on either a single character or one tiny aspect of a show from the 1990s (that ViacomCBS hasn’t even been bothered to upscale to full HD) doesn’t fit the bill. Captain Proton is dead on arrival – and I’m sorry to say that it’s for the best.
The Star Trek franchise – including Star Trek: Voyager and all other titles and 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 trailers and teasers for Season 4.
As we welcome the month of November, Star Trek: Discovery’s fourth season is now only a couple of weeks away! With the season fast approaching I thought it would be a good idea to recap, as succinctly as possible, the story so far. Michael Burnham and the rest of the crew have been on a wild ride that’s seen them face off against militant Klingons, a Mirror Universe impostor, a rogue AI, Section 31, and a journey into a future that none of them expected to find.
If you haven’t re-watched Discovery since Season 3 ended just after New Year, I hope this recap of the story so far will be helpful going into Season 4. If for some reason you haven’t seen Discovery yet, well this recap might help you get acclimated with the show and some of the characters – but there’s still a couple of weeks to watch the show’s forty-two episodes… so you’d better get on with it!
Season 4 is imminent!
As I’ve said previously, the show’s first season didn’t get off to a great start story-wise. As things settled down, though, Discovery told a creditable story over the course of the season, one which hit a lot of the right notes in terms of “feeling like Star Trek.” But Season 2 was leaps and bounds ahead of where Season 1 had been, with noteworthy improvements in writing and characterisation to tell a truly exciting and engaging story.
Season 3 was a risk in some respects, but in others it was clearly designed to answer criticisms from some quarters about the show’s place in Star Trek’s broader canon. Shooting the ship and crew almost a thousand years into the future meant abandoning the 23rd Century – and everything else familiar about Star Trek’s galaxy. However, this decision opened up Discovery to brand-new storytelling ideas, and gave the writers and producers far more creative freedom. The show was pioneering new ground instead of trying to walk an occasionally awkward line between the franchise’s established history and bringing new ideas to the table.
Captain Burnham in a promo image for Season 4.
There were some great successes in Season 3. For the first time we got standalone episodes – or at least semi-standalone episodes in which the main story of the season took a back seat. We also got spotlight moments for more of the ship’s secondary characters, some of whom had barely had more than a line or two of dialogue despite being fixtures on the bridge. Though I have criticised the Burn storyline – which was the most significant aspect of the season’s story – for having a number of issues, overall Season 3 was a success.
Discovery has been “the Michael Burnham show” since its premiere episode – for better and for worse. The first three seasons can thus be viewed as Burnham’s ascent to the captain’s chair, and the rocky road she took to get there. Though there has been development of other characters – Saru, Tilly, and Mirror Georgiou stand out in particular – the show’s focus has often been on Burnham.
So let’s head back to the beginning and run through all three seasons as briefly as possible! I’ll try to hit all of the most important and relevant points as we go to get you ready for Season 4.
Season 1
Michael Burnham at the beginning of Season 1.
Season 1 began with Michael Burnham serving as first officer to Captain Georgiou of the USS Shenzhou. Saru was also a member of the crew, as was helm officer Detmer. After being called to a region of space near the Klingon border, the Shenzhou encountered a new Klingon leader who had a plan to unify all of the Klingon Great Houses by going to war with the Federation. In a moment we’ll charitably call “confusion” (as opposed to other, harsher terms we could use) Michael Burnham attempted to stage a mutiny against Captain Georgiou and fire the first shot at a large Klingon fleet.
After the arrival of Admiral Anderson and Starfleet reinforcements, a battle broke out between the Federation and Klingons – the opening engagement of a year-long war. Georgiou and Burnham led an away mission to attempt to capture the Klingon leader, T’Kuvma, but the mission ended with both Georgiou and T’Kuvma dead and war assured between the two sides.
Season 1 began with Georgiou killed and a Federation-Klingon war breaking out.
The Klingon war led to Starfleet accelerating work on the Spore Drive – a new method of traversing the galaxy that relies on a kind of fungus. The Spore Drive was installed aboard two ships – Discovery and the USS Glenn. Engineer Paul Stamets was in charge of the Spore Drive aboard Discovery under the command of Captain Gabriel Lorca, but the technology wasn’t effective at first.
The crew of the USS Glenn discovered that a tardigrade – a space-dwelling lifeform – could be used to navigate the mycelial network and might be the key to making the Spore Drive operational. However, the crew were killed when the tardigrade got loose, and the ship was destroyed to prevent it from falling into the wrong hands. Initial experiments using the tardigrade were promising, despite the dangers it posed, but when it became clear how painful the process was for the creature, Stamets merged his DNA with the tardigrade’s so the creature could go free. Stamets thus became Discovery’s navigator and the Spore Drive became fully functional.
A space-dwelling lifeform proved key to making the Spore Drive work.
At the same time, Michael Burnham – now a prisoner following her mutiny – had been brought aboard the USS Discovery by Captain Lorca. She was assigned a cabin with Cadet Sylvia Tilly, and employed as a “mission specialist.” Lorca suggested to Burnham that this could be a way to atone for her role in the outbreak of the war, and she played a role in helping get the Spore Drive operational.
Captain Lorca was captured by the Klingons, but was able to escape thanks to the assistance of Ash Tyler – a fellow Starfleet prisoner. Tyler joined the crew of Discovery as Lorca’s new security officer – despite clearly suffering from post-traumatic stress as a result of his abuse and torture by the Klingons.
A war with the Klingons was the focus of large parts of Season 1.
The USS Discovery was sent to the planet Pahvo, where a crystalline transmitter was located. The transmitter could be used, Starfleet believed, to detect cloaked Klingon ships. When the mission went wrong and the native energy-based Pahvans summoned the Klingons to their planet, Captain Lorca disobeyed orders to implement a new plan. Outwardly his plan was to use multiple Spore Drive jumps to unlock the secrets behind the Klingons’ cloaking device – but in reality his plan was to use the Spore Drive to return to the Mirror Universe.
Captain Lorca was later revealed to be a native of the Mirror Universe, having crossed over inadvertently to the Prime Universe. While in the Mirror Universe the crew of the USS Discovery had to try to fit in as soldiers of the Terran Empire. Burnham and Lorca travelled to the capital ship of Empress Georgiou, where Lorca attempted to rally his forces and stage a coup.
Mirror Lorca returned home and attempted to stage a coup.
Lorca was killed during his coup attempt, but Empress Georgiou’s reign was over anyway; other plotters were already eyeing her throne. In a moment of unthinking impulse, Michael Burnham chose to save Georgiou’s life and transported her to Discovery. After investigating how Lorca was able to use the Spore Drive to jump between universes, the crew were able to reverse the process and return home – only to discover that the Klingons had reached the edge of victory in their absence.
A mad plan cooked up by Empress Georgiou and Admiral Cornwell saw a bomb transported to the Klingon homeworld, one which would have devastated the planet if it had been set off. Leading a second, pro-Starfleet values mutiny, Burnham rallied the crew of Discovery against the bomb plot and instead saw the super-weapon turned over to L’Rell – who went on to become the new Klingon Chancellor and ended the war.
Season 2
The crew of the USS Discovery at the end of Season 1.
After the war ended, Burnham and the crew received medals for their roles. Burnham was also reinstated at the rank of commander. Following a computer failure aboard the USS Enterprise, Captain Pike was assigned to the USS Discovery and given temporary command of the ship for his mission to chase down an ambiguous entity known as the Red Angel. The Red Angel had been generating anomalies known as Red Bursts at locations across the galaxy.
The Enterprise’s science officer – and Michael Burnham’s adoptive brother – Spock, had gone missing at the same time. The Red Angel was revealed to be a time traveller – someone with the ability to travel into the past and far into the future. A mysterious figure from Spock’s youth – and who had once intervened to save his life – was revealed as the Red Angel and thus connected to Spock’s disappearance.
Where is Spock?
Meanwhile on the Klingon homeworld, Ash Tyler – whose true identity as a Klingon had been discovered – was able to leave the planet with his “son” thanks to the help of Section 31. The son of Voq and Klingon Chancellor L’Rell was taken away to the Klingon monastery on Boreth to be raised with the monks, and Tyler rejoined Section 31 – which counted ex-Empress Georgiou among its new recruits. Captain Leland tried to maintain the peace aboard a state-of-the-art Section 31 vessel.
Section 31 had come to rely heavily on an artificial intelligence named Control during the Klingon war, and it had become routine for Starfleet admirals to run all of their mission data through Control. Unbeknownst to any of them, Control had aspirations of its own, seeking to become fully sentient and to wipe out its creators. Somehow it discovered the existence of an entity known as the Sphere – a planetoid-sized lifeform that had spent more than 100,000 years studying the galaxy and accumulating vast swathes of data on all of its inhabitants.
The USS Discovery (left) and the Sphere.
By merging its programming with the Sphere data, Control would be able to become fully sentient, and it set out to acquire the Sphere data. Thanks to the time-traveling involvement of the Red Angel, the USS Discovery came to possess the Sphere data, and thus became a target for Control.
After Michael Burnham was able to rescue Spock from Section 31, she took him to Talos IV where the Talosians were able to help “unscramble” his brain, leading to Spock explaining as much as he could about the Red Angel, its origins, and its connection to him. The Red Angel was revealed to be a human.
The Talosians were able to help Spock.
The USS Discovery became a fugitive after rescuing Burnham and Spock from Talos IV; hunted by Control, and thus by Section 31 and all of Starfleet. Control was able to kill off many Section 31 leaders and operatives, and used nanites to “assimilate” or possess the body of Captain Leland – but thankfully left Ash Tyler and Georgiou alone!
The crew of Discovery studied scans of the Red Angel following a mission to Saru’s home planet (in which they rescued his people from subservience to the Ba’ul, a second sentient race present on the planet). Saru underwent a transformation to his “evolved” form, losing much of his fearfulness in the process. Scans of the Red Angel revealed that the time traveller was, to everyone’s surprise, Michael Burnham.
Michael Burnham was believed to be the Red Angel.
After a side-story involving native beings in the mycelial network and Tilly, Dr Culber – who had been killed by Tyler/Voq – was able to be rescued from the mycelial network and brought back to life. Meanwhile a plan to lure the Red Angel and trap her ended up proving that Burnham wasn’t the Red Angel – her long-lost mother was.
Dr Gabrielle Burnham had been using the Red Angel suit to interfere in the timeline after getting trapped in the 32nd Century. She arrived there by accident only to find all sentient life in the galaxy gone thanks to Control, which had acquired the Sphere Data and evolved itself. She began taking action to thwart Control, including giving the Sphere data to Discovery to keep safe. She was later pulled back to the 32nd Century; her presence there ultimately determined the ship’s destination at the end of the season.
Dr Gabrielle Burnham explained why she – as the Red Angel – was interfering with the timeline.
Control was hot on Discovery’s heels, and using Captain Leland attempted to gain access to the Sphere data. Pike and the crew realised the data couldn’t be destroyed – it was protecting itself – so they made a plan to send the data into the far future, securing a time crystal from the Klingon monastery on Boreth in order to build a new Red Angel suit. During the mission to Boreth, Captain Pike made a great sacrifice to acquire the crystal – cementing a future for himself of devastating disability.
While preparing for a last stand against Control and a fleet of Section 31 ships under its command, the crew of Discovery raced to build a second Red Angel suit. After Control arrived and a battle raged, Michael Burnham used the completed suit to travel back in time and set the Red Bursts – making the whole story somewhat circular – before leading the USS Discovery (now under Saru’s command) into the future. Captain Pike and Spock remained behind in the 23rd Century.
Season 3
On the bridge of the Enterprise, Captain Pike, Spock, and the crew watched the USS Discovery disappear.
Arriving 930 years later, Michael Burnham was initially alone and crash-landed on the planet Hima. There she met Cleveland Booker who told her about the Burn: a galaxy-wide catastrophe in which many starships were destroyed. The Federation had also disappeared – at least from the local region of space – and though Book initially appeared antagonistic and out for himself, he eventually agreed to help Burnham and took her to a Federation outpost.
There was no sign of Discovery, however, and it was a full year later before the ship emerged from the time-wormhole. After a rough landing on a planet named the Colony, Acting Captain Saru and the crew came into conflict with Zareh, a courier working for a faction called the Emerald Chain. Thanks to the timely arrival of Book and Burnham, Discovery was rescued and proceeded to Earth using the Spore Drive.
After a year in the future with Book, Michael Burnham was able to find Discovery again.
In the 125 years since the Burn, however, many changes had taken place. Earth was just one of many planets to have quit the Federation, retreating to an armed isolationist stance that even saw the planet unwilling to communicate with human colonies inside the Sol system. Searching for a Starfleet Admiral named Senna Tal seemed fruitless at first, but Tal’s Trill symbiont had been transferred to a human named Adira.
After helping the people of Earth reconnect with their fellow humans on Titan, Discovery visited the Trill homeworld to help Adira – and to learn the location of Federation HQ, which was no longer on Earth. Burnham and the crew were able to help the Trill, who had been suffering from a shortage of suitable candidates for their symbionts, and also helped Adira in the process. Discovery was then able to travel to Federation HQ – a cloaked space station that housed the remnants of both the Federation government and Starfleet.
The USS Discovery docked at Federation HQ.
Having peaked at around 350 members, by the time of Discovery’s arrival the Federation was down to a mere 38 remaining worlds, some of which were out of contact due to the Burn’s lingering effects and damage to subspace communications. The ship undertook a short mission to recover some seeds from the USS Tikhov – a Starfleet seed vault – in order to provide medical care. Nhan, a Barzan officer, remained behind on the Tikhov.
The USS Discovery then underwent a retrofit, one which kept the familiar interior look of the ship but which upgraded many of its systems to 32nd Century standards, including detached nacelles and programmable matter. The crew were permitted to remain together under Captain Saru’s command, but Discovery was seconded to Federation HQ as a “rapid response vessel” thanks to its Spore Drive.
Admiral Vance was the head of Starfleet in the 32nd Century.
Michael Burnham and Georgiou undertook an off-the-books mission to rescue Book, who had been captured by the Emerald Chain. The upshot of Book’s rescue was the discovery of a Starfleet black box, and the data inside proved that the Burn did not happen everywhere simultaneously, as had been theorised. Instead it had a point of origin – but without more information it wasn’t possible to pinpoint it.
SB-19 was a project run by Ni’Var – the renamed planet Vulcan following reunification between Vulcans and Romulans – in the years before the Burn. Ni’Var had come to believe that SB-19 was responsible for the Burn and were unwilling to share any details about the project, even though Burnham asked them to share it to help pinpoint the Burn’s source. Eventually, however, the reappearance of Dr Gabrielle Burnham, who was now a member of the Qowat Milat, an order of armed Romulan nuns, showed Burnham the way to get the information and recommit herself to Starfleet following a year away from the ship.
A holographic depiction of SB-19.
After acquiring the SB-19 data, Discovery undertook a mission to Book’s home planet of Kwejian. Threatened by the Emerald Chain and its leader, Osyraa, Book’s brother attempted to turn him over to the faction in exchange for protecting the harvest and thus Kwejian’s food supply. Piloting Book’s ship, Lieutenant Detmer was able to damage the Emerald Chain flagship while the crew of Discovery found a way to protect Kwejian’s food supply without the need to rely on the Emerald Chain.
Mirror Georgiou had fallen ill, and a mysterious Federation figure named Kovich knew why – travelling through time and travelling across from a parallel universe leads to a painful and fatal condition which he believed to be incurable. The USS Discovery undertook a mission to a planet near the Gamma Quadrant to help Georgiou, and she was able to travel to a parallel universe very similar to the Mirror Universe.
Burnham and Georgiou travelled to this planet to seek help for her illness.
While in the Mirror Universe, Georgiou attempted to make changes. Having spent time with Burnham and the Federation she had become more compassionate and less quick to violence than before, and though she ultimately failed to bring about major reforms to the Terran Empire, she was deemed “worthy” of a second chance by the entity which sent her there – an entity which subsequently revealed itself to be the Guardian of Forever.
Georgiou was able to use the Guardian’s portal to leave the 32nd Century and thus save her life – but she had to say goodbye to Saru, Burnham, and the rest of the crew. Her destination isn’t clear – but if the Section 31 series gets off the ground in future we may just find out! Don’t hold your breath for that, though… it’s feeling less and less likely as time goes by!
The Guardian of Forever sent Georgiou to an unknown destination in order to save her life.
With the data from the black boxes and SB-19, Burnham and the crew were able to triangulate the source of the Burn: the Verubin Nebula. Inside the nebula was a crashed Kelpien starship, the KSF Khi’eth, and a life-form was detected on board despite the dangerous radiation from the nebula. Discovery made another jump to the nebula, and Captain Saru left Ensign Tilly in charge while he went to save the lost Kelpien.
The Emerald Chain took advantage of this situation to capture the USS Discovery, wanting to keep the Spore Drive technology for themselves. Leader Osyraa then set course for Federation HQ, keeping Discovery’s crew hostage while she tried to force the Federation into an alliance. Admiral Vance called her bluff, and Osyraa attempted to escape. In the meantime, though, Michael Burnham had jettisoned poor Stamets off the ship, and without him to control the Spore Drive Discovery was forced to rely on warp.
Stamets was ejected into space – but don’t worry, he’s okay!
Following a battle with the Emerald Chain both in space and aboard Discovery, Book was able to kill Osyraa’s lieutenant Zareh and Burnham was able to kill Osyraa herself, while Tilly and other members of the bridge crew regained control of the ship. Book’s empathic abilities allowed him to use the Spore Drive, transporting Discovery back to the Verubin Nebula just in time to save Saru, Culber, Adira, Gray, and Su’Kal – the Kelpien who was accidentally responsible for the Burn all those years ago.
Su’Kal had developed a telepathic link with dilithium thanks to the Verubin Nebula’s radiation and because the Khi’eth had crashed on a planet composed largely of the valuable fuel. When Su’Kal’s mother died while he was still a child, a telepathic shockwave that Su’Kal accidentally unleashed led to the Burn. By taking him away from the Verubin Nebula, any prospect of a repeat of the Burn was nullified.
Saru was able to rescue Su’Kal and prevent a reoccurrence of the Burn.
A short epilogue to the season showed us that Trill had rejoined the Federation and that the Federation was hoping to use the dilithium in the Verubin Nebula to bring hope back to the galaxy. Ni’Var was considering rejoining too, and Saru took a leave of absence to go to Kaminar with Su’Kal. In his absence, Burnham had been promoted and assumed command of Discovery.
And that’s the story so far!
We now know that Captain Burnham and the crew will have to contend with a gravitational anomaly in Season 4; an uncharted, never-before-seen phenomenon that appears to be threatening the Federation and all of known space. How that will play out isn’t clear at all right now, but we don’t have to wait too much longer to find out!
The USS Discovery in the Season 4 trailer.
I hope that this recap of the story so far has been useful. I didn’t include everything – this article would have been far too long if I’d tried to include every character moment and side-story. But I think I hit the most important story beats from all three seasons. I’d encourage you to check out other story recaps from other places to make sure you’re getting a full picture, though! Or you could just go back and re-watch Discovery… two episodes per day will get you pretty close, and then binge-watch the final few!
Going back to the stories of earlier seasons was a bit of fun, and it’s helped get me back into a Star Trek mood in time for Season 4, which will be upon us before you know it! I’m currently not writing up reviews of Prodigy episodes, as you may have noticed – the series is unavailable here in the UK and I see no point in covering a show that ViacomCBS doesn’t see fit to make available to Trekkies internationally. However, I will cover Discovery’s fourth season in-depth, including weekly episode reviews and theory posts, as well as other occasional articles on topics of interest while the season is ongoing. So I hope you’ll stay tuned for all of that here on the website in the weeks ahead.
Star Trek: Discovery Seasons 1-3 are available to stream now on Paramount+ in the United States and on Netflix internationally. Season 4 will begin on the 18th of November in the United States and the 19th of November internationally. 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 minor spoilers ahead for the following Star Trek productions: Discovery Season 3, Picard Season 1, 2009’s Star Trek, Deep Space Nine, and Voyager.
We’ve known for a while that there are more Star Trek projects in development in addition to the shows and films currently in production. As early as the announcement of Star Trek: Picard in 2018 rumours were flying around, and not long after the official announcement of the Section 31 series – a show whose fate I fear hangs in the balance right now – came confirmation that further Star Trek television shows were actively being worked on. One of those shows we now know to be Strange New Worlds – but there are other projects both for film and television that remain officially unannounced.
September’s Star Trek Day broadcast featured an interview with Alex Kurtzman, the man in charge of the Star Trek franchise for ViacomCBS. In the interview, Kurtzman hinted – though stopped short of confirming outright – that one of the shows in early development will be focused on Starfleet Academy. Today I thought it could be fun to consider what a Starfleet Academy series could look like, and answer the crucial question: “is it a good idea?!”
Alex Kurtzman teased a Starfleet Academy series at Star Trek Day.
As the Section 31 series has unfortunately demonstrated now that it appears to be on the verge of outright cancellation, developing an entirely new television series is not a straightforward process. However, the fact that Alex Kurtzman was willing to discuss the prospect of a Starfleet Academy series at all – and in a pre-recorded interview that ViacomCBS allowed to be broadcast, no less – means that we have to take the idea seriously. It’s still possible that the proposed series won’t make it to our screens in its presently-envisioned form, but ViacomCBS is clearly laying the groundwork for a future announcement.
Sometimes companies like to tease or even leak information like this to gauge the reaction and see what fans think. Any new Star Trek television series has to have appeal beyond the existing fanbase, of course, but if Trekkies aren’t at least interested if not enthused at the prospect of a new show, that could mean the corporation chooses not to press ahead. If I were to speculate – and as always, I’ll tell you up front that I have no “insider information” – I would say that might well be the fate that befell the Section 31 series.
We’re still waiting to hear news about the poor Section 31 show…
We’ve recently talked about some of the poor business decisions that ViacomCBS has made in regards to the Star Trek franchise, so it wouldn’t shock me to learn that none of it is planned and the corporation is just winging it! But I like to think that there is some direction and control to the way the Starfleet Academy series has been teased, and that there are folks over at the company analysing the response from the fanbase to see how Trekkies feel about the idea.
So… how do Trekkies feel about the idea? I’m not the most active person on social media, but even so I would’ve expected to see some chatter. Prior to the announcement of Strange New Worlds, for example, I quickly lost count of the number of posts and messages I saw from fans who were clamouring for a “Captain Pike show.” So far, from my limited perspective at least, I’m not seeing any of that for a Starfleet Academy series. Maybe people who study social media in more depth than I do, or who are members of fan clubs and the like, have heard more from the fan community about this – but I think it’s worth noting that the prospect of the show has, thus far at least, failed to get large numbers of folks excited.
I haven’t seen much talk in the fan community on social media about a potential Starfleet Academy series just yet.
To be fair, though, the only mention of a Starfleet Academy series from anyone close to the production of Star Trek came in that one Star Trek Day interview. The Alex Kurtzman interview lasted only a few minutes and was by no means the main event in a broadcast that lasted for three hours and also debuted trailers and teases for shows that have already been announced. So perhaps the reason for the muted response is that a lot of folks are still unaware of the concept – or if they are aware they’re still waiting for something more official.
For my part, I think the series has a lot of potential. I’d place it far higher on my list than any of the other rumoured or quasi-official pitches and concepts that have been floating around out there! Whether it’s Captain Worf, Captain Proton, or the Ceti Alpha V miniseries that we talked about a while ago, a Starfleet Academy show has – in my subjective opinion at least – far more potential to be interesting and exciting.
I’d definitely prefer a Starfleet Academy show to a Captain Proton show!
Starfleet Academy is not a new concept for a series. As early as the 1960s, while The Original Series was still on the air, Gene Roddenberry was actively considering a prequel which would have focused on Kirk, Spock, and Dr McCoy meeting for the first time at Starfleet Academy. The concept was revisited by Gene Roddenberry at least twice: in the early 1970s, prior to work commencing on the project that ultimately became The Motion Picture, and again in the mid-1980s before work began on The Next Generation. Seeing Kirk, Spock, and Dr McCoy at Starfleet Academy would eventually be realised in 2009’s Star Trek film.
Gene Roddenberry would have approved, then! Which is great news for all longstanding Trekkies! I don’t think we need to worry too much that previous attempts to get a Starfleet Academy project off the ground didn’t succeed. The truth is that there were other competing ideas at the time, and even though Gene Roddenberry and others did seriously consider the idea, there were always other competing projects. I think we can all agree that the feature films of the 1980s and The Next Generation were great ideas too!
Gene Roddenberry worked on several Starfleet Academy series and film concepts during his life.
Had Enterprise not been cancelled, I think it’s possible that the Starfleet Academy concept could’ve been revived 15 years ago as well, as part of a renewed expansion of Star Trek that never happened. There were plans afoot in the Enterprise era to expand the franchise yet further, but the show’s declining ratings and the poor critical reception to Nemesis in 2002 ultimately led to the Star Trek franchise taking a short break.
A Starfleet Academy series has three big things going for it, in my view. Firstly, the series could be created to tie in with any current or past Star Trek series. Connecting it to an ongoing show such as Discovery or Picard would make the most sense, and the show could be set in the same time period as either, and connect with characters, factions, and themes. There could even be crossover episodes.
A Starfleet Academy series could potentially run alongside – and cross over with – any of the current crop of Star Trek shows.
This kind of closer connection between ongoing series is something that the Star Trek franchise needs. The closest we’ve got so far has been the appearance of the Qowat Milat in Season 3 of Discovery, connecting the show in a loose way with Picard. But the franchise as a whole needs to do a lot more to tie together the shows currently in production, so having a Starfleet Academy series share a time period and setting with another show would be a boost to the Star Trek franchise overall.
Secondly, if the show were set at Starfleet Academy itself, that would make it the first Star Trek series to take place on Earth. That concept is itself interesting, and there’s potential to learn more about Earth and what life is like for its inhabitants in the future. That’s in addition to taking a deep dive into life at the Academy itself. Such a series could – perhaps – be a little cheaper to produce; filming could take place in and around San Fransisco, and there would be arguably less of a need for expensive new sets to be built from scratch to represent spacecraft and alien worlds.
A tree in the grounds of Starfleet Academy as seen in Discovery Season 3.
Every Star Trek series so far has visited Earth in some capacity, but there’s still an awful lot we don’t know about the Federation’s capital planet. I like the idea of some of the cadets or teachers taking time away from the Academy to get out and explore – showing us as the audience more than a glimpse of life on Earth in Star Trek’s future.
Finally, a Starfleet Academy series has the potential to appeal to a younger audience – just like Prodigy is intended to. In fact, a Starfleet Academy show could easily become the next port of call for Prodigy fans as they immerse themselves further in Star Trek; there’s huge potential to appeal to a tween or teen audience, particularly if younger cadets were the show’s primary focus.
Fans of Prodigy could easily make the jump to a Starfleet Academy show if it had a similar youthful focus.
At the very least, setting a series at the Academy would naturally include a number of younger characters – and its characters like these that have the potential to appeal to a younger audience. Star Trek can’t just be the preserve of an ageing fanbase who remember shows from the ’60s and ’90s with rose-tinted nostalgia! It has to expand and appeal to new fans too – and bringing younger people into the Star Trek fan community is the best way of ensuring the franchise will survive and remain in production in the longer term.
In my view, that’s one of the most important things that a Starfleet Academy series could do – and should be its primary objective as a series. As Lower Decks and Prodigy are demonstrating, branching out and trying to appeal to different audiences doesn’t mean that Star Trek has to ignore its existing fanbase. There’s plenty in Prodigy and Lower Decks to appeal to existing fans, and I would expect no less from a Starfleet Academy show as well.
Lower Decks was intended to bring in new fans as well as appeal to Trekkies – and a Starfleet Academy show could walk that same line.
When a Starfleet Academy concept has been debated in the past, some fans have raised the objection that it would be “too static” – that being stuck on Earth would make the show feel stale in comparison to other Star Trek shows set aboard starships. I understand where such a concern is coming from, but as Deep Space Nine definitively proved, a stationary setting doesn’t have to be boring. And as Deep Space Nine also showed right from its very first episode, it’s possible to have shuttles, runabouts, or even a whole starship seconded to a base.
Starfleet Academy has its own ships – this is something we’ve seen in several past episodes. Deep Space Nine’s sixth season episode Valiant even showed a crew of cadets aboard a very advanced ship, and Prodigy is also showing a younger crew aboard their own vessel. In short, a Starfleet Academy series could easily have episodes set aboard a ship or visiting other worlds – as well as stories that make use of technologies like the holodeck to give the cadets experience.
Kirk as a cadet in 2009’s Star Trek.
I’d say that a Starfleet Academy series is absolutely worth pursuing. It might not be my first choice – I have a few ideas of my own, which you can find by clicking or tapping here! – but it absolutely has merit, and sounds far better than any of the other pitches or proposals I’ve heard in recent years. Its biggest selling point to me is its potential to bring in new audiences, as well as to give young fans of Prodigy a series to graduate to that would keep them in the fandom.
So watch this space! I don’t believe an announcement is imminent, despite the recent talk of the show at Star Trek Day. Picard still has at least two seasons left to run, Lower Decks and Prodigy have at least one more apiece, and while there have been no official announcements I’m expecting to hear that Discovery will get a fifth season and Strange New Worlds will get a second at some point in the near future. Between those shows and the various feature film projects, Star Trek is quite busy going into 2022, 2023, and even 2024! So we might not hear anything official just yet… but keep your eyes and ears open!
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.
Spoiler Warning: Minor spoilers are present for some of the entries on this list.
Nintendo recently launched the so-called Switch online “expansion pack” – representing incredibly poor value, but that’s beside the point. Included with the subscription are a handful of Nintendo 64 titles which the Switch can emulate. It just got me thinking about one of my favourite consoles and some of the amazing games I enjoyed back in the late 1990s and early 2000s.
I upgraded from a Super Nintendo (or SNES) to a Nintendo 64 at Christmas 1997, and the console was my primary gaming machine for about three years until I picked up a Dreamcast shortly after the turn of the millennium. Though I had a PC as well at the time, it was underpowered compared to the console and couldn’t come close to matching it. Though we often think of PC gaming in 2021 as being the gold standard that consoles have to try to measure up to, it wasn’t that long ago where even an expensive PC would struggle in gaming performance next to a dedicated games console – and the Nintendo 64/PlayStation generation was certainly part of that era!
A transparent blue Nintendo 64 console – and its controller.
The Nintendo 64 was my first experience with proper 3D graphics. I’d played PC games with 3D environments before, and other games with 3D sprites, but it was only when I sat down to play Super Mario 64 that I got to fully experience a 3D virtual world. It felt like the future back then – and considering that the Nintendo 64 pioneered a number of features that are still part of gaming today, I guess I was right about that!
Aesthetically, I love the design of the Nintendo 64 and its controller. The chunky three-armed device was intimidating at first; “I don’t have three hands,” I remember thinking, “so how am I supposed to hold it?!” But having an analogue stick was a neat feature, one that felt like a massive upgrade from the wobbly joysticks or D-pads of past consoles I’d been able to play on. Navigating the new 3D environments needed a controller suited to that purpose, and the Nintendo 64’s analogue stick delivered – even if it seems a little primitive when compared to the controllers we enjoy today! Having a “trigger” also made shooting games feel all the more immersive.
A Nintendo 64 controller. What a weird design!
The Nintendo 64 had a stellar lineup of games – several of which I only got to play years later as they were unaffordable to me when I was younger and broke! Now I’m old and still broke – but at least there’s emulation! Actually, the Nintendo 64 was the console that got me into the emulation scene back in the early 2000s. After upgrading to a more powerful PC I found that I could emulate the console quite well, and had a blast re-playing a few favourites as well as playing titles I missed out on first time around. I can’t condone emulation – it’s a legal minefield and you should be careful – but if you have a decent computer and know what you’re doing you’ll have a far better (and cheaper) time than you would if you paid for a Switch online “expansion pack!”
Looking back with the benefit of hindsight, I’d say that the games of this era represent a transitional stage for the video games industry as a whole. Most Nintendo 64 titles feel like a half-step between the rather basic, toy-like games of earlier generations and the bigger, more in-depth and cinematic titles that we’d enjoy a few short years later. The move from 2D to 3D didn’t immediately lead to masterpieces like Shenmue or Knights of the Old Republic, but the rapid pace of technological change meant that those kinds of games were finally possible. The Nintendo 64 has some games that tried very hard to tell more adult-oriented stories, and it was around this time that I felt video games as a whole had a heck of a lot of potential to be something more.
This was an era of transition for video games.
So on this occasion – twenty-five years on from the Nintendo 64’s 1996 debut – I thought it would be fun to look at five of my favourite titles. These are just a few of the games that, for me anyway, made the Nintendo 64 great. My usual caveat applies: I’m not saying these five games are “objectively the best” Nintendo 64 games out there. If you hate all of them or don’t see your favourite on the list, that’s okay! There are plenty of Nintendo 64 games out there, and we all have our personal favourites. These are just a few of mine!
With that out of the way, let’s take a look at the list – which is in no particular order.
Number 1: Star Wars: Shadows of the Empire
The Battle of Hoth.
A few years before Knights of the Old Republic would come along and absolutely blow me away, Shadows of the Empire took me on an outstanding Star Wars-themed adventure. A third-person action-adventure game with nary a Jedi nor the Force in sight, players take control of the Han Solo-inspired Dash Rendar for a wild romp across the galaxy – set during and just after the events of The Empire Strikes Back!
What I adored about Shadows of the Empire was the diversity of gameplay on display. Not only could Dash run and gun in a 3D world that looked so much better and felt way more immersive than any 2D Star Wars game I’d played previously, but he could also pilot several different vehicles – a Snowspeeder taking on AT-AT walkers on Hoth, his own spaceship, swoop bikes, and more.
Shadows of the Empire came at a time when the old Expanded Universe was really ramping up, and along with a novel and comic was technically considered canon until Disney expunged the Expanded Universe in 2013. However, being an official project with a high degree of involvement from Lucasfilm meant that the game slotted in well to the Star Wars universe, feeling genuinely connected to the events and characters of the films.
Number 2: Super Mario 64
Wheeeeeee!
Of course we’re going to talk about Super Mario 64! This was the only Nintendo 64 game I had at first, and I played it for hours and hours! Though I’d played some games on the PC – like Doom – which used pseudo-3D environments, and others which used 3D sprites for 2D gameplay, Super Mario 64 was the first truly 3D game that I played. The difference in how immersive and realistic the game felt, and how it conveyed a sense of scale that really made me feel part of its world are feelings I have never forgotten even a quarter of a century later!
Booting up Super Mario 64 for the first time was a wild experience, one that has stuck with me ever since. But the game itself was fantastic, too, with Mario on a quest to save Princess Peach by battling Bowser and his minions inside painting worlds. The unique premise allowed Super Mario 64 to show off a range of different levels and different environments, and new gameplay mechanics – some of which were inspired by past Super Mario titles – allowed a far greater degree of environmental interaction than ever before.
One level in Super Mario 64 that stands out is Wet-Dry World. Players could change the amount of water in the level, raising and lowering it both by jumping into the painting at different heights and within the level itself by touching special items. The idea that Mario could change the environment in real-time, and then use that gameplay mechanic to solve puzzles, was absolutely genius! And the game is full of other examples of this kind of radical, utterly transformative gameplay.
Number 3: GoldenEye 007
Pew! Pew!
GoldenEye took the first-person shooter concept and honed it, making excellent use of the Nintendo 64’s control pad and analogue stick. Without GoldenEye it’s hard to see how other first-person shooters on console – like the Halo series, which arrived a few years later – would have been possible. It was a pioneering title, and surely one of the best film adaptations of all time!
The Nintendo 64 upped the number of control pads and thus the number of players from two on the SNES to four – meaning four-way deathmatches were possible! Split-screen was the order of the day, of course – this was long before online gaming was commonplace – and among my friend group four-player matches were relatively rare. But when we could get a few friends together, playing GoldenEye was a blast! It had fun, fast-paced shooting, well-designed levels with plenty of variety – from maze-like corridors and small rooms to expansive larger environments – and 3D graphics that put you right in the action.
GoldenEye didn’t create the first-person shooter genre. But it took full advantage of the Nintendo 64’s impressive hardware to feel streets ahead of earlier titles – and even many games that were released around the same time. Fully 3D environments and characters instead of 2D “billboard” sprites and a plot that vaguely followed the events of the film made for a fantastic all-around title. Rare would further hone many of the techniques on display when they created Perfect Dark a few years later.
Number 4: F-Zero X
Try not to crash!
You might’ve expected me to put the venerable Mario Kart 64 on this list – especially considering how many times I’ve talked about that game here on the website! But F-Zero X doesn’t get the love it deserves, so on this occasion we can put Mario Kart 64 to one side and look at a different Nintendo 64 racer. F-Zero X is a futuristic-themed racing game, with players in spaceship-like hovercars – and they go really fast!
F-Zero X is an incredibly fast-paced racing game, meaning you often need lightning-fast reflexes! It was a blast, and the unique futuristic aesthetic set it apart from practically every other racing game on the market at the time.
Maybe F-Zero X didn’t have the best graphics. It certainly didn’t push the Nintendo 64 to its 3D limits in the way some other titles did. But despite that, it was an incredibly fun racing game, and were it not for Mario Kart 64 I might be tempted to call it my favourite racer of the era! There’s an odd charm to F-Zero X that I can’t quite put into words; it’s a genuinely different game, and that alone made it a ton of fun.
Number 5: Jet Force Gemini
Rescuing a Tribal in Jet Force Gemini!
Had it been made today, Jet Force Gemini would surely have kicked off a whole franchise! As it is, this Rare-developed title remains a one-off, but it’s an incredibly fun and exciting sci-fi adventure. Jet Force Gemini is one game I would absolutely pick to bring back for a full remake, because it seems such a shame to me that it’s all but forgotten, abandoned in the Nintendo 64 era.
An action-adventure title set in a unique sci-fi world, Jet Force Gemini had a fun and engaging story. It also had smooth shooting and a trio of fun main characters who each got a turn in the spotlight. The game had beautifully-designed levels, with some being pretty big and expansive offering different paths to get to the end.
Rescuing the Tribals – cute teddy bear-like critters – was an additional gameplay element that added a lot to each level, though the game’s insistence on finding every single one could feel like padding sometimes! But the Nintendo 64 era saw games trying out new gameplay mechanics, and the idea of having hidden collectibles would be honed and refined in future titles. Overall, Jet Force Gemini was a lot of fun – and I’d love to see its world and characters return one day.
So that’s it! Five amazing Nintendo 64 games.
The familiar Nintendo 64 logo.
There were loads more titles I could’ve chosen, so stay tuned! This is a topic I may revisit in future. The Nintendo 64 was a great console with some fantastic games. Though it does represent a half-step between older, more basic games and the immersive, cinematic experiences that were soon to come, it’s also a console that pioneered or refined many of the concepts upon which newer games – and even games today – rely.
The Nintendo 64 also had plenty of amazing games in its own right, and while it is an interesting machine from an interesting era in video game history, it’s also a console that I had a lot of fun with in the late 1990s. Back then it didn’t feel like a half-step – it felt cutting-edge, bringing 3D worlds to life and showing off far more realistic graphics than I ever thought possible! It isn’t just the nostalgia talking – the Nintendo 64 was a fantastic machine.
All titles mentioned above are the copyright of Nintendo and/or their respective developer, publisher, owner, etc. Some images 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 from the Lightyear trailer.
We’re firmly in an era of sequels, spin-offs, and franchises. One type of story that a lot of companies are creating to squeeze another title out of their most popular creations is the “origin story” – basically a prequel that goes into detail about the background of a particular character. The Star Wars prequels showed how overexplaining a classic character can be more of a negative than a positive, but franchises push on regardless. From Willy Wonka to Hannibal Lecter, backstories abound in fiction.
Buzz Lightyear is not a character I would have ever chosen to write an entire origin story for. For one thing, Buzz Lightyear is a toy – he doesn’t have an origin story; he was made in a factory and shipped out to a toy shop where Andy’s family bought him! But I guess Lightyear isn’t taking that approach!
Buzz Lightyear has come to life!
The film’s trailer, which was a surprise release a couple of days ago, seems to show a “real” Buzz Lightyear inhabiting a sci-fi world. All of the elements that we know of were present: his rocket-ship, his colourful spacesuit, Star Command, and even his unrealistically large Desperate Dan-esque chin. But instead of simply being a toy for kids to play with, Buzz seems to be a fully-real person in his own right.
This isn’t actually the first attempt at that concept. Though I haven’t seen it, there was a short-lived television series called Buzz Lightyear of Star Command which aired in 2000-2001 and even spawned a video game adaptation for the PlayStation, Dreamcast, PC, and Game Boy Colour. The series might be one you remember, but it doesn’t seem to have been as big as some of the other Disney projects of the era – I hadn’t even heard of it until researching the topic for this article!
2000-2001 television show Buzz Lightyear of Star Command had a similar underlying premise.
It’s possible that Buzz Lightyear of Star Command’s remaining superfans might be treated to an easter egg or two in the new film, so if you fall into that category keep your eyes peeled! Disney and Pixar have a longstanding habit of harkening back to older titles and past iterations of their popular franchises, so I wouldn’t be shocked at all if a couple of sneaky references or callbacks to Buzz Lightyear of Star Command make it into the final cut of the film!
The trailer itself was exciting and surprisingly had more of a dark tone than I might’ve expected. There were some moments that clearly set up dangerous moments for Buzz as he goes on his adventure, and the dark, engraved door opening to reveal a red glow was incredibly well-done and provided a lot of tension. It almost gave me a Doom vibe – odd as that might sound!
Who will emerge from this door?
Buzz Lightyear as a character has, since his inception, been a uniquely Disney take on mid-century sci-fi. The likes of Flash Gordon, Forbidden Planet, and even Star Trek: The Original Series are present in his characterisation and aesthetic, deliberately so. But of course the biggest influence over Buzz Lightyear’s charmingly retro design comes from Walt Disney’s Tomorrowland and Epcot concepts – which have since been brought to life at Disney’s theme parks.
Anyone who’s ever ridden Space Mountain can see clear evidence of its inspiration in the trailer for Lightyear – Buzz’s rocket-ship resembles the ride vehicles and even the launch platform looked an awful lot like the track of the ride. The rings Buzz seemed to be flying through at one point also bore a striking resemblance to Space Mountain.
I definitely got Space Mountain vibes from the trailer.
A big part of the trailer concerned Buzz Lightyear taking a trip in his rocket-ship. There were influences from a lot of astronaut films and television shows in the way he was preparing for the journey, and he seems to have a colleague or friend at Star Command who’s helping him with his mission; perhaps someone who will serve as a point of contact at mission control.
The animation in the trailer was outstanding. Seeing Buzz’s ship slingshotting around the star was truly striking, and reminded me that Pixar is renowned as one of the world’s best animation studios for a reason! As a Trekkie that moment reminded me a lot of slingshot effects in both Star Trek: The Original Series and more significantly in the 1986 film Star Trek IV: The Voyage Home, but there was also more than a little influence from more modern sci-fi titles like Interstellar in the way the star in particular was presented. Overall it was an astonishingly beautiful sequence.
The slingshot sequence was especially cool.
We have no idea at this stage what the story of Lightyear might be. Chris Evans – of Marvel fame – will star as the titular hero, but we don’t know who will play the film’s villain, Emperor Zurg. Zurg has been part of the mythos of Buzz Lightyear since his first appearance, but had a more fleshed-out role in Toy Story 2. Just like it’ll be interesting to see a “real-life” version of Buzz, so too will it be interesting to see how Emperor Zurg makes the jump from toy to real person.
If we continue the mid-century sci-fi analogy from earlier that we know Buzz Lightyear as a character draws from, I see Emperor Zurg as filling a role similar to the likes of Flash Gordon’s Ming the Merciless – but with an aesthetic inspired by early depictions of robots and even Darth Vader. I’ll watch for a casting announcement with trepidation – getting the right person who can play the character in suitably over-the-top style could be crucial to the film’s success!
Buzz’s classic spacesuit.
I’m not sure what to make of the toy cat in the trailer. Lightyear has been described by Disney and Pixar as “the definitive origin story” of the character, and while we’re assured that he is fully human (or at least not a toy) in the film, the presence of what seemed to be a toy cat – whose name is Sox – made me wonder! Is there something else going on here?
On the other hand, Pixar’s press release talked about the original inception of Buzz Lightyear during the creation of Toy Story. They specifically talked about how they envisioned the toy Buzz Lightyear as being merchandise for a blockbuster movie about an action hero – and how Lightyear is that movie! Kind of a film-within-a-film thing, except that Lightyear is a feature-length title in its own right!
What’s the deal with this cat?
The trailer was genuinely one of the best and most interesting that I’ve seen in months, and Lightyear is firmly on my list of titles for 2022! The film is currently scheduled for a June release window, and will presumably hit cinemas first before heading to Disney+ after a month or two – barring any pandemic-related delays or closures.
The retro sci-fi vibe that Lightyear seems to be wholeheartedly embracing appears to give the film a delightfully old-school charm, with clear influences from Disney’s Tomorrowland in particular. That alone would be enough to pique my curiosity, but the fact that there were some amazing visual effects and what seems to be a slightly mysterious and interesting story has seen Lightyear come from nowhere to rocket its way onto my list for next year. I’m genuinely looking forward to this one now!
Lightyear is scheduled to be released on the 17th of June 2022. Lightyear is the copyright of Pixar and The Walt Disney Company. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I like Star Trek. I’ve been a Trekkie since I first watched The Next Generation in the early 1990s, and watching that series kicked off a lifelong love of the franchise that continues to this day. Over a span of three decades I’ve watched every single film and episode – practically all of them several times over – and in addition I’ve spent a lot of money on plenty of merchandise, ranging from action figures and coffee table books to artwork and stationery. My house is decorated with Star Trek posters and action figures in display cases, and if you ever stop by for a coffee you’ll almost certainly drink it out of a Star Trek mug. But Star Trek, it seems, doesn’t reciprocate.
At the very least, the suits in charge of the franchise at ViacomCBS do not care one iota about any Star Trek fan outside of North America – as evidenced by the fact that, for the second year in a row, a brand-new Star Trek series is not going to be made available to fans across the world.
Logo for ViacomCBS – the corporation that owns Star Trek.
Star Trek: Prodigy premieres in a couple of days’ time, and just as happened with Lower Decks in August 2020, the series is going to be kept away from fans outside of North America. This decision re-emphasises ViacomCBS’ disgusting attitude to the franchise’s non-American fans, but in one significant way it’s an even worse and more egregious insult than the Lower Decks debacle was.
Why do I say that? Because Prodigy is a co-production between CBS Studios and Nickelodeon – both of which are ViacomCBS subsidiaries. Nickelodeon, as I’m sure you know, is a children’s television channel that is broadcast across the world – in more than 70 countries from New Zealand to Ukraine and South Africa to Pakistan. In order to make Prodigy available to a worldwide audience, all ViacomCBS would have needed to do was put the series on Nickelodeon – something incredibly easy to do as Nickelodeon is a channel it already owns and operates. It wouldn’t have even cost the corporation any money, as there would have been no expensive rights agreements or broadcast licenses to negotiate.
ViacomCBS literally owns Nickelodeon and all of its international channels.
The decision not to broadcast the show on Nickelodeon can only be taken one way: it’s an insult. ViacomCBS is once again throwing up a middle finger to Star Trek’s international fanbase – a sizeable fanbase that must at the very least equal the number of Trekkies in the United States.
At first I thought I was okay with it. Prodigy is a show for kids, after all, and most kids won’t care. But the more I thought about it the more I kept returning to the argument I made in the run-up to Lower Decks’ premiere last year: that this is not an acceptable way for ViacomCBS to behave.
Star Trek became a global brand at the behest of ViacomCBS and its predecessors. The corporation adores globalism because it wants to make more and more profit – like a greedy Ferengi – from people who don’t live in the United States. But creating a global brand comes with a responsibility that doesn’t stop at international borders, and for seemingly no reason at all ViacomCBS is abdicating its responsibility to Trekkies.
Photo from the ViacomCBS boardroom.
I get it – ViacomCBS wants people to sign up for its mediocre second-tier streaming platform: Paramount+. The future is digital, and the corporation wants Paramount+ to be a success as more people around the world stop tuning in to broadcast television. But if that’s the case, ViacomCBS needs to make Paramount+ available internationally – the platform’s international rollout has been painfully slow and incredibly patchy, with films and shows the corporation owns not being available on the platform even after Paramount+ arrives in some regions.
ViacomCBS is trying to tie Star Trek to Paramount+, using the franchise to hook Trekkies in and convince us to subscribe. There’s a profit motive here – but that doesn’t absolve them of the responsibility they have to fans of their programmes and franchises. Star Trek only exists and was only able to be revived in 2017 because of its international fanbase – a deal with Netflix reportedly paid for almost the entire cost of Discovery’s first season. Yet time and again, ViacomCBS is content to ignore its international fans and leave us in the cold.
Prodigy will only be available to American audiences via Paramount+.
This isn’t just about one series – or two series now, counting Lower Decks last year. The Star Trek franchise is constantly prioritising fans in North America over us out here in the rest of the world. Trailers and clips for upcoming shows or even marketing material will be quite literally gated off on social media, with fans outside North America being told that “this content is not available in your location.” Star Trek’s official shop offers a paltry range of products internationally when compared to its North American offerings, and ViacomCBS is quite happy to ignore any and all questions on the subject of international availability.
Look at any recent social media post promoting Prodigy and you’ll see a slew of messages and comments from fans overseas. Most are polite, simply enquiring about if and when the series will be made available in their neck of the woods. And Star Trek’s social media team ignores every last one of them – just as they did last year when fans were clamouring for information about Lower Decks.
A handful of comments from social media directed at the official Star Trek pages and channels – all of which were ignored. Names redacted.
There has been no official word from ViacomCBS or the Star Trek social media teams about Prodigy’s international debut – and there won’t be. They simply do not care enough to even give a non-answer like “coming soon.” Instead, fans are left to shout into the void, bang our heads against a wall of silence, and whatever other metaphor you can think of for trying to get information from an uncaring corporation.
Last year there was an excuse – a piss-poor one, but an excuse nevertheless: the pandemic. Disruption to production and broadcast schedules – especially post-production work on Discovery Season 3 – meant that last-minute changes were necessary. Lower Decks was bumped up to be broadcast ahead of Discovery, and there wasn’t time to sort out the international rights. That excuse is bullshit, of course, because as I said last year it’s still up to ViacomCBS to broadcast or delay the series, meaning they could have waited to ensure fans everywhere could watch it together. But this year even that paltry excuse no longer applies.
There are two reasons why: Prodigy’s production hasn’t been impacted by the pandemic to anywhere near the same extent, and as already discussed, ViacomCBS owns Nickelodeon and has the option to broadcast the series on a channel that they own in 70+ countries around the world.
Prodigy is a Nickelodeon and CBS Studios co-production.
I want ViacomCBS and Paramount+ to succeed because I want Star Trek to succeed and continue to be produced. But if the corporation is so callous and uncaring when it comes to fans like me, what am I supposed to do? It’s a toxic relationship right now; a one-way relationship with no reciprocity. Prodigy is supposed to be a series that will bring in new fans to Star Trek – but it’s also supposed to be a show with a lot to offer to Star Trek’s existing fans. For “business reasons,” though, only certain fans that ViacomCBS deems important enough or worthy will be permitted the privilege of watching the series.
In 2021, with the global interconnected fandom that ViacomCBS pushed to create, segregating a series or film geographically is indefensible. A delay of a day or two between regional broadcasts might be acceptable – though there’s no technical reason why, given the technologies involved. But to broadcast a new show in one location and not even give lip service to when it might be available anywhere else? It’s wrong – and more than that, it’s stupid and self-defeating from a business perspective.
A map of the world according to ViacomCBS.
ViacomCBS wants as many people as possible to tune in to Star Trek. They want as many kids as possible to watch Prodigy, and I would assume they’re planning to sell merchandise based on the show as well – though the lack of any obvious Prodigy merchandise so far is yet another indication of the moronic and amateurish way the corporation is handling its biggest brand. But if the goal is to get fans excited and talking about the show, hyping it up in the run-up to its premiere and generating the kind of online buzz that makes television shows a success, cutting off at least half the fanbase is the dumbest and most idiotic thing the corporation could possibly do.
From Game of Thrones to Squid Game, online chatter is what drives people to check out a new television series. People who love something and who are passionate about it tell their friends and their social media followers, and that engagement drives people to the show – and the platform that hosts it. By deliberately and intentionally preventing many Trekkies from accessing Prodigy, ViacomCBS has killed a lot of the hype and excitement that the show could have generated.
Who knows how much bigger Prodigy could have been if the corporation in charge had handled its broadcast better?
The corporation has evidently learned nothing from the muted and lacklustre response to Lower Decks last year – a response that, sadly, has seen the show fail to hit the heights it could have in terms of viewership. Even when Lower Decks did arrive internationally and even when its second season did get the simultaneous broadcast it needed, a lot of damage had already been done, and the opportunity to make the series bigger than it ultimately became was missed.
Lower Decks and Prodigy are the two most unique and different offerings that the Star Trek franchise has arguably ever produced. Out of everything the franchise has on the horizon, it’s these two shows more than any others that had the potential to bring in hordes of new fans and to take the Star Trek franchise as a whole to the next level in terms of audience numbers and the scale of the fanbase. These opportunities have been pissed away by a corporation that clearly has no idea how to run an international franchise.
Fans outside North America might as well stare out of the window – because Prodigy won’t be hitting our screens any time soon.
When a corporation deliberately and wilfully treats a large section of its fanbase with such blatant disrespect, what can we do?
Since ViacomCBS clearly doesn’t care about anyone outside of North America, it seems to me that there’s no point in continuing to engage with the corporation or support it. They don’t care about us, so why should we care about them? And why should any non-American Trekkie consider spending a single penny on any ViacomCBS product in future? It seems like it’s only a matter of time until the next Star Trek show or film isn’t made available to us either.
If ViacomCBS chooses not to make Star Trek available to fans, we might as well pirate it. They clearly place no value on the money we could pay them or the passion we could have when talking about upcoming shows and films, so why bother? We might as well pirate all of Star Trek – and everything else ViacomCBS does, too. If they’ve chosen not to make Prodigy available internationally, and won’t even have the basic decency to answer repeated questions from fans, piracy is the default option – quite literally the only way to watch the series. It didn’t have to be, but this is a choice ViacomCBS willingly made.
When a corporation chooses to place no value on its biggest and most passionate fans, and takes increasingly stupid business decisions that almost seem intended to harm their franchise, they’ve made their decision. The lack of a response to these basic questions from fans about Prodigy’s availability or about the Paramount+ rollout is in itself an answer. And that answer is: “go fuck yourself, we don’t give a shit about you.”
In most jurisdictions around the world, piracy – defined above as the sharing of copyrighted material over the internet – is not legal. This essay was an examination of the moral and ethical implications of piracy only, and was categorically not an endorsement or encouragement to download any individual film or television series, nor should anything written above be interpreted in that manner. 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 trailers and teasers for Season 4.
A bit of a morbid one this time… but it is nearly Halloween!
In the last decade or so, a number of television shows have pioneered what I call the “disposable cast” – where even main characters and fan-favourites can’t be assured of safety or survival as a series continues. Shows like Game of Thrones and The Walking Dead have made this a big part of their identities, and the idea that any major character could be in danger can – when done right – add to the tension and drama. Not knowing if your favourite character will make it to the end of the episode or escape a dangerous situation can really increase the weight of a story.
Discovery has technically seen more main cast members depart than any previous Star Trek series! Captains Lorca and Pike, Spock, Georgiou, Tyler, and Nhan were all main cast members at one point before departing the series. But with the exception of Lorca, none of these characters were killed off, and in a television landscape that increasingly favours big, dramatic character deaths, the Star Trek franchise as a whole still hasn’t really caught up.
Sonequa Martin-Green starred in The Walking Dead for a time.
In Season 3 we saw the recurring character of Ryn killed off. He’d been a friend and ally to Booker and Burnham and his death was both a shock – due to the way it was carried out – and a tragedy for the crew. As with Airiam in Season 2, though, Ryn wasn’t a character we’d got to know particularly well before his death, and when Season 3 could have stepped up and actually killed off a main character or a character who’d been present on the show since the beginning, the writers and producers chose not to do so.
Star Trek has always had an optimistic tone, embodied in some ways by Captain Kirk’s assertion that he “doesn’t believe in no-win scenarios.” The desire to save everyone every time is drilled into every Starfleet officer – particularly captains. In that sense I can certainly entertain the argument that a character death feels like a loss or a defeat in a way that is somehow “un-Star Trek.”
Admiral Kirk in The Wrath of Khan. He famously refused to accept the concept of a no-win scenario.
At the same time, I fundamentally disagree with Captain Kirk. Life is full of no-win scenarios, and one of the skills any captain or commander needs to have is knowing how to make a difficult choice; how to choose the least-bad option when no good outcomes are possible. Sometimes that means sacrificing a life to save others, and this is something that the Star Trek franchise has touched on in the past.
Though I don’t want to see any specific character killed off in Discovery’s imminent fourth season, a well-timed character death could go a long way to raising the stakes and making the story much more impactful. The gravitational anomaly would seem all the more deadly if it claimed the life of a familiar face, or the climax of the story could see Captain Burnham having to make an impossible choice.
I don’t necessarily want to see anyone killed off – but it would certainly make for an impactful and dramatic story beat.
So this time we’re going to take a look at Discovery’s main and recurring characters – and try to assess who may or may not survive the season!
The usual caveats apply: I have no “insider information” and I’m not claiming to know what will happen. All of this is guesswork and speculation from a fan of Star Trek, nothing more. It’s also entirely subjective, so if you disagree or hate my ideas that’s okay!
Now that’s out of the way, let’s get started. I’m going to put the characters into a list, then give my assessment of how likely they are to be killed off during Season 4.
Character #1: Captain Michael Burnham Status: Almost Certainly Safe 💖
Captain Burnham in a promo image for Season 4.
Discovery has been the Michael Burnham show since its premiere episode, and that is unlikely to change! The first three seasons saw Burnham’s rise to the captaincy of the USS Discovery, and having only just got there it would be a really unexpected and subversive twist to kill her off. As the show’s main protagonist she feels safer than most – and even series that pioneered the “disposable cast” like those mentioned above have tended to save their most significant characters from harm.
The only possible argument we could consider to counter that is the uniqueness of the USS Discovery’s captain’s chair. Three seasons of the show have each been led by a different captain – Lorca, Pike, and Saru. One of Discovery’s most interesting features has been these individual season-long captaincies and the very different styles each captain had. It’s possible – though I wouldn’t call it “likely” by any stretch – that the show might choose to bring in another new captain for Season 5, continuing this trend. If that’s the case, perhaps Captain Burnham isn’t quite as safe as it seems! However, I consider that a very unlikely scenario.
Character #2: Saru Status: In Danger ☠️
Saru in the second Season 4 trailer.
What role does ex-Captain Saru have aboard a ship that has moved on without him? That’s a fundamental question that the series will have to address, because it’s quite odd for a Starfleet vessel to be racing across the galaxy with two captains on board. The situation could, perhaps, even lead to some awkwardness for Captain Burnham!
Some fans felt that Saru might’ve left Discovery after the Season 3 epilogue told us that he was returning to Kaminar to spend time helping Su’Kal. Fortunately that didn’t happen – not least because the short epilogue would have been a very disrespectful way for Saru to be shuffled off the show altogether! But the fact that Discovery has found a new captain means Saru doesn’t really have a role any more, at least not as things currently stand. Characters who feel surplus to requirements are often the most in danger – and Saru doesn’t really have a clear role right now.
Character #3: Paul Stamets Status: In Danger ☠️
Stamets in the first Season 4 trailer.
Until recently, Stamets felt safer than almost any other character on Discovery! His unique ability to navigate the mycelial network meant that without him, one of Discovery’s unique selling points – the Spore Drive – wouldn’t work. For story reasons that could be a problem and certainly a limitation, so Stamets felt safe. But the revelation at the end of Season 3 that Booker – and any other empathic character, in theory – can interact with the Spore Drive in the same way as Stamets means his unique usefulness is at an end.
So the question is this: was Stamets’ unique ability stripped away from him for a reason? Could Season 3 have been setting up a situation in the near future where the crew will have to survive without him? Or was it just a natural progression in the story of the Emerald Chain’s takeover of Discovery? Actually I guess that was three questions! But the point stands: Stamets is not the only one who can use the Spore Drive any more, and thus no longer feels anywhere near as safe as he did last season.
Character #4: Dr Hugh Culber Status: Safe 💖
Dr Culber in Season 3.
Dr Culber has already been killed off once – and he didn’t stay dead! There was also a minor backlash in some quarters to the killing off of one of Star Trek’s first major gay characters. Sometimes LGBT+ characters can feel more “expendable” in films and on television than their non-LGBT+ counterparts; a trope that we could definitely do without!
LGBT+ issues aside, I feel that Dr Culber’s “back from the dead” storyline in Season 2 means he’s a safe bet to survive Season 4. It would be a stupidly complicated storyline to kill him off for the second time, and I think for production-side reasons the writers and producers are less willing to kill off Dr Culber than almost anyone else.
Character #5: Sylvia Tilly Status: Probably Safe 💖
Tilly in the second Season 4 trailer.
I’m calling Tilly safe because it just doesn’t seem as though the writers and producers want to get rid of her yet. Tilly has been the one character other than Michael Burnham to have seen significant growth across all three seasons of the show, overcoming her anxieties to step up and even take command of the ship. The way she led a team of officers in the final couple of episodes of Season 3 came to embody that transformation – and her arc, while imperfectly executed, was nevertheless powerful to see.
As Tilly is still young and only a junior officer, there’s plenty of room to continue that growth. I don’t think she’s going to be Captain Burnham’s first officer in Season 4, but it could well be that her arc across Season 4 and perhaps into Season 5 is readying her to take on that role again. Regardless, I don’t expect to see her killed off in Season 4.
Character #6: Cleveland Booker Status: Safe 💖
Book in the second Season 4 trailer.
Unless Discovery plans to introduce a new main character, Book is the show’s main guide to the 32nd Century. Not only does he serve in that role for Captain Burnham and the crew of the ship, but he’s also a great character to show us as the audience the perspective of a 32nd Century native. He has a major role in that regard, and unless he can be replaced with a like-for-like character I can’t see the show dispensing with him.
Booker also has a relationship with Captain Burnham to consider, and while we can expect some bumps in the road with that perhaps, I think killing him off at this stage would be too much for Burnham after everything else she’s been through. I’d like to see Book help to anchor Burnham and keep her grounded as she handles the burden of command – serving as a confidante and her closest ally. Book’s story is also incomplete, and we’ve been promised a closer look at his background in the future. For all of those reasons and more, I think he’s pretty safe!
Character #7: Admiral Charles Vance Status: In Danger ☠️
Admiral Vance in Season 3.
I felt Vance was in danger toward the end of Season 3 as well, and that he could’ve fallen victim to the Emerald Chain when they attacked Federation HQ. That didn’t happen – fortunately – but Admiral Vance definitely feels in danger as we approach Season 4. As one of the most significant secondary characters in Season 3, Vance’s death would carry more weight than a lot of other secondary characters’ would, which is one reason I felt he might’ve been in danger last time around.
Two things struck me from the Season 4 trailers: the almost total absence of Vance and the arrival of Federation President Rillak. Rillak, as I’ve noted in the past, seems to occupy a similar role to Vance’s in Season 3, serving as a “big boss” for Captain Burnham and the crew to ultimately be answerable to. That was the job Vance had as head of Starfleet in Season 3, but if Burnham is now reporting directly to President Rillak… what is there for Vance to do? Combine that with his absence from the two trailers and I wonder what might’ve become of the head of Starfleet.
Character #8: President Rillak Status: In Danger ☠️
President Rillak in the second Season 4 trailer.
President Rillak’s status is difficult to gauge because she’s brand-new! We’ve only seen her in action very briefly in the trailers for Season 4, so what role she might ultimately play is unclear at best. However, there are a few reasons to think that she could be in danger.
Firstly, any new character should automatically be assumed to be in danger! It’s easier to kill off a brand-new character than an established fan-favourite, and doing so could be a relatively easy way to communicate the stakes in any story. Secondly is Rillak’s role: President of the Federation. The death of someone in such a powerful position is always going to have a significant effect, even if we as the audience didn’t know her particularly well. Thirdly, the main scene we’ve seen so far featuring President Rillak showed her facing off against Captain Burnham in at least a semi-antagonistic way. Killing off a character who’s either a villain or a hurdle to our heroes is a trope as old as time!
Characters #9 and #10: Adira Tal and Gray Tal Status: Safe 💖
Gray and Adira in Season 3.
One storyline in Season 4 is going to focus on Gray’s quest to be “seen” – to become corporeal again somehow. Discovery certainly won’t kill off Adira and Gray without bringing this story to its conclusion, as it’s an incredibly powerful analogy for the status of trans and non-binary people – as well as being an exciting and interesting story in its own right.
Gray is tied to Adira, and thus it isn’t possible to kill them off without also killing off Gray. I think that makes both of them safe, though there is a lingering question as to what exactly Gray is. Star Trek doesn’t do ghosts, so Gray has to be explained scientifically somehow! Regardless, both characters feel assuredly safe.
Character #11: Dr Tracy Pollard Status: In Danger ☠️
Dr Pollard at the beginning of Season 3.
After three seasons we don’t really know Dr Pollard very well. She’s often been seen in sickbay, and has patched up many of our heroes when they were injured, but aside from being a competent doctor we don’t really know very much about her. She appeared a few times in Season 3, but was never front-and-centre even in sequences in sickbay.
Dr Pollard is one of those secondary characters who has been in the background for the show’s entire run. Killing her off would be an easy option for Discovery in many ways; an attempt to get the impact of the death of a familar face without having to kill off anyone major. Be on the lookout for an Airiam-style spotlight on Dr Pollard – if she suddenly becomes the focus of a major storyline, she could be on her way to the chopping block!
Character #12: Kovich Status: Safe… for now! 💖
Kovich in Season 3.
Until we know who Kovich is and what his role is in the hierarchy of the Federation, I can’t imagine Discovery would kill him off. There’s too much mystery surrounding this character, and to leave that unresolved would be fundamentally frustrating at a narrative level. My personal theory is that Kovich is the head of Section 31, or perhaps Starfleet Intelligence, but none of that has been confirmed on screen yet.
Famed director David Cronenberg plays the character, and I think for both Star Trek and Cronenberg it’s been a great partnership. Kovich thus feels safer than most, but it’s still possible that after we learn more about him and what his role has been that he could be killed off in future; he may not be permanently safe!
Character #13: Jett Reno Status: In Danger ☠️
Reno in the second Season 4 trailer.
Tig Notaro, who plays Jett Reno, has said that the character won’t appear as frequently in Season 4 as originally intended. This is due to the impact of the pandemic on the show’s production. That doesn’t mean that Reno is necessarily in any danger, but it is worth noting.
Reno is famously sarcastic and deadpan, so her line in the second Season 4 trailer that she’s “lived a good life” could simply be her usual wit. However, it could also be some dark foreshadowing – and perhaps Season 4 could see Reno meet her end.
Character #14: Dr Gabrielle Burnham Status: In Danger ☠️
Dr Burnham in Season 3.
It seems as though Dr Burnham and the Qowat Milat will have a significant role to play in Season 4 – at least based on what we saw in the second trailer. One thing came to mind when I saw other members of the Qowat Milat fighting and training, though: could they be seeking revenge for the death of one of their own? If so, perhaps Dr Burnham is the one who’s died.
This could be connected to the gravitational anomaly or it could be its own independent storyline. Regardless, Dr Burnham’s death would have a huge impact on Michael Burnham, and could be a major source of emotion and drama for her as the season rolls on. Coping with bereavement and learning to move forward while grieving are themes Star Trek has touched on in the past.
Character #15: T’Rina Status: Probably Safe 💖
T’Rina in the second Season 4 trailer.
The President of Ni’Var, who we met in Season 3, would be an odd choice to kill off. It’s arguable that, if she does indeed lead Ni’Var back to Federation membership as the trailers have hinted, her story is complete and thus she may not have much more to do. But when considering character deaths, one factor is how their loss will impact others in the story.
Saru is the only main character with whom T’Rina has any significant relationship, and thus her death wouldn’t be as impactful for Captain Burnham and the rest of the crew even when compared to the new character of President Rillak. T’Rina being killed would still have the effect of communicating the stakes involved and the dangers of the anomaly, but it would matter far less from an emotional point of view. Thus I think there are probably better candidates when it comes to characters being killed off.
Character #16: Lieutenant Willa Status: In Danger ☠️
Lieutenant Willa in Season 3.
Lieutenant Willa was Admiral Vance’s aide-de-camp in Season 3, and also briefly spent time aboard Discovery. She helped the crew acclimatise to the 32nd Century, and brought them up to speed on some of the new technologies that had been installed on the ship after arriving at Federation HQ. Though a good deal of Willa’s story and interactions with the crew happened off-screen, it’s fair to say she’s well-known to most of them and on friendly terms.
Willa’s death would thus have a significant impact on practically everyone aboard Discovery – especially if she had transferred aboard the ship or spent more time with Captain Burnham and the crew earlier in Season 4. Her death would also affect Admiral Vance – or she could even be a secondary casualty if Vance himself were killed. As a familiar face and someone known to the crew, Willa could be killed off to communicate the stakes involved in the story.
Character #17: Grudge Status: She better be safe! Or else… 🐱
Grudge in the second Season 4 trailer.
Discovery can kill off a lot of characters… but the show better leave Grudge alone! Jokes aside, one of the best moments in the Season 3 finale was the way Book stood up to the villainous Zareh when he threatened to hurt Grudge. As a cat owner I love Grudge and I’m very protective of her… so if Discovery tried to get away with killing her off I might actually cry.
On a serious note, I think Grudge is probably safe. She gives Book’s character an extra dimension; a dependent for him to care for and look after. Plus she serves as a kind of mascot for the series. I can’t see Grudge being killed off in Season 4 – no matter how bad things get for Captain Burnham and Book!
Characters #18-23: The Secondary Bridge Crew Status: In Danger ☠️
Tilly with several secondary characters in Season 3.
I’m lumping six characters together for this final entry because I found myself saying basically the same thing about all of them! Included in this group are the following: Detmer, Owosekun, Rhys, Bryce, Nilsson, and Linus. Most of them had an outing with Tilly at the end of Season 3 in which they were all in serious danger – most notably Owosekun. They all survived that encounter, but I’m not convinced they’ll all make it to the end of Season 4.
Detmer and Owosekun are the two characters we know best thanks to their development in Season 2 and particularly in Season 3. But any of these six could get the Airiam treatment and have a moment in the spotlight followed by a quick death. If Discovery wanted to show us the stakes and communicate the dangers involved without killing off a major character, any of these secondary characters could find themselves on the chopping block.
So that’s it. Those are my pre-season feelings about the safety of each of Discovery’s main characters!
Captain Burnham at the end of Season 3.
Season 4 is only three weeks away now, so we won’t have to wait too long to find out which of our favourite characters will survive the gravitational anomaly – and all of the other dangers out there in the 32nd Century! As I said at the beginning, I’m not advocating for any specific character to be killed off. I like everyone, even the secondary characters, and I wouldn’t necessarily want any of them to die.
At the same time, Season 3 felt like it had a little too perfect of an outcome for some characters, especially in the finale. Sometimes, when facing an impossibly dangerous situation, loss of life is inevitable. Making it so that characters continually survive the impossible quickly gets boring, and there was definitely a sense in the Season 3 finale that “plot armour” was protecting more than one character.
Owosekun is one of several characters who seemed to have plot armour in the Season 3 finale.
A well-timed and well-executed character death can be shocking, impactful, and emotional. When establishing the danger involved in a situation, seeing a character we know meet their end can raise the stakes dramatically for the remainder of the story, and the sense that anyone – even important named characters – could be in danger is part of what has made television storytelling since 2010 so entertaining and dramatic. Discovery doesn’t need to go down this road – but doing so could lead to some outstanding storylines and deeply emotional moments.
I’m looking forward to Season 4 now! Hopefully the show can build on the successes of Season 3 and continue the process of establishing the 32nd Century as a setting in its own right – while also telling a new and different story about the gravitational anomaly. It will also be great to see Captain Burnham in command of the ship in her own right for the first time. Let’s fly!
Star Trek: Discovery Season 4 will premiere on the 18th of November 2021 on Paramount+ in the United States and on Netflix in the United Kingdom and around the world. 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.
One method of raising money that some game developers started using in the late 2000s and early 2010s is crowdfunding. Check out popular crowdfunding websites like Kickstarter and Indiegogo and you can find plenty of video game projects on offer, all of which are asking for your money.
In exchange for supporting a project or helping it get started, many crowdfunded games offer players their own copy – which can be a digital download or a physical boxed version depending on the title and the amount of money invested – to be delivered when the game is finally ready. This transactional approach to crowdfunding, combined with prices that are often comparable to the “standard” price of a brand-new game, has led many players to consider crowdfunding as an extended form of pre-ordering.
Logos for Kickstarter and Indiegogo – two of the web’s biggest crowdfunding platforms.
Unfortunately nothing could be further from the truth, and this fundamental misunderstanding has caused an awful lot of disappointment in recent years. It isn’t the fault of individual players, many of whom simply saw an exciting-sounding game and wanted to place their order as early as possible. Instead the fault really lies with the way these crowdfunding platforms and individual developers market their products.
When placing a pre-order for a video game, players are almost always committing their money to a project that is already fully-funded. Perhaps an indie developer has taken out a loan, or maybe we’re talking about a game produced by a larger publisher with the financial resources of their corporation. Regardless, by the time pre-orders go live for practically every title, the game’s development costs are covered and a release is assured. Some games receive delays even after accepting pre-orders, but even then a delay is usually a matter of weeks, months, or a year at the most – and the title is still being worked on.
A visualisation of buying things online…
Pre-orders are purchases – they’re a transaction between the player and the platform, shop, or publisher. As such they’re subject to a range of consumer protection laws, the most significant of which is the right to be refunded. If a pre-ordered game is cancelled, or even if a player changes their mind before release, they can simply contact the retailer or publisher and request a refund without too much hassle.
Crowdfunding, as many players have found to their cost, doesn’t work this way at all. At a fundamental level, crowdfunding is akin to a donation or an investment. As anyone who’s ever played the stock market or cryptocurrency can tell you, the value of investments can change over time, and as the developer or company you’ve donated to takes your money to use in the process of developing their game, there are no guarantees. Caveat emptor indeed.
Buyer beware!
Creating anything is an incredibly difficult and complicated process, and all manner of different unforeseeable situations can adversely impact a project. The current pandemic is an example – many films, television shows, and video games saw their production disrupted by events completely beyond their control. In short, a project may not always go as intended, and even if production goes as smoothly as possible, the end result may be radically different from its creator’s original vision.
For players who’ve donated to a crowdfunding project, this can be incredibly hard to take. They feel they were promised a particular kind of game within a given timeframe, but for any one of a thousand different reasons the game they got doesn’t align with those initial expectations or developer promises. Unfortunately there really isn’t much that can be done about this.
Many people end up angry or upset when a crowdfunded game fails to deliver.
Two examples come to mind of crowdfunding projects that didn’t go to plan. On a personal note I’ve got 2019’s Shenmue III. This title, which dedicated fans of a long-dead pair of games managed to raise an astonishing $7 million to help create, had one job as far as I was concerned: finish the story. Shenmue II had ended on a cliffhanger, and fans wanted to see protagonist Ryo Hazuki bring his quest for revenge to a conclusion. But for reasons I find utterly inexplicable, that didn’t happen. Shenmue III didn’t finish Ryo’s story.
The second example is one of the most egregious crowdfunding disasters of all time: Star Citizen. In development now for over eleven years, the game is nowhere near ready for release. While a small part of the game is available in an early alpha state, developers Cloud Imperium Games have mismanaged the project in truly epic style. With well over $300 million raised – almost all of which has been spent – Star Citizen is a complete disaster, with many of its original backers and fans now calling it a “scam” for the way it took their money.
Logo for the unreleased game Star Citizen.
Shenmue III had specific problems with its story as a result of its creator being unwilling to make cuts to the game’s bloated narrative. Star Citizen is an example of a developer getting completely out of their depth. With the amount of money Cloud Imperium Games raised growing, they felt the need to promise more features for the game. But more features meant more development time, which meant more money was needed to keep the lights on, and in order to raise more money they promised more features… leading to a catastrophic spiral from which the game will never escape. It’s a case of feature creep on an unprecedented scale.
There are plenty of other examples of disappointing crowdfunded games, including titles that ended up baring little resemblance to what had been originally promised and, of course, many games that simply never made it that far, being cancelled or simply vanishing without ever releasing so much as a teaser trailer.
Shenmue III is one of the biggest crowdfunding disappointments to me personally.
These things will always happen. In the games industry there are many examples of titles that entered development but never made it to release, including some whose details have subsequently leaked out – like Star Wars 1313, Rockstar’s Agent, and Prey 2. The key difference with those titles is that they were never being “sold” – players didn’t have to part with their money, meaning the only negative consequence of these cancellations is disappointment. On the rare occasion where a game has been cancelled after pre-orders were available that money is able to be refunded.
Because of the way crowdfunding works, players can be left out of pocket – some to the tune of thousands of pounds or dollars – if a project doesn’t go to plan. And because of the way many crowdfunded titles are marketed, players who believe that they essentially pre-ordered a game or engaged in a transaction are understandably upset. This is why we all need to educate ourselves and understand the fundamental difference between pre-ordering a game and participating in a crowdfunding campaign.
Some people invest vast sums of money in crowdfunding campaigns.
The best way I can explain it is like this:
Pre-ordering means you’re buying a game and engaging in a transaction with a company. They have already committed the financial resources to making the game, and while it can still turn out to be disappointing for all manner of reasons, your money is safe and in almost every case you’ll be able to get a refund.
Pre-ordering is a purchase; the proceeds go to the developer, publisher, and/or shop as proceeds for work already completed.
Crowdfunding is donating to a project. You aren’t purchasing anything – not even if a copy of the game is listed as a “reward” for investing your money. Your money is going to be taken by the developer to be used as part of the game’s creation, not to make a profit on a game they have already committed to making. Because a lot can go wrong or simply change during the creation of a video game, there’s a higher chance that when the game eventually releases it won’t be exactly what you expected – if it even releases at all. In any case your money is almost certainly gone, and unless you can afford to lawyer up or prove that a project was a deliberate scam or con, perpetrated by someone with no intention of creating a video game, you won’t be able to get it back.
Crowdfunding is a donation; the money is a gift which goes directly to the developer so they can fund the game’s creation.
Most projects are not scams – but that doesn’t mean things won’t go awry.
Speaking for myself, I’ve never donated to a crowdfunding campaign. Even when it came to titles like the aforementioned Shenmue III I simply concluded that I don’t have the money to lose. As someone on a low income my budget for video games – and any other entertainment product – is already low, so the idea of investing in the creation of something, no matter how “cool” it might sound, is something I’m unwilling to commit to.
Sadly, some of these failures and disappointments will lead to fewer players being willing to donate their money to crowdfunding campaigns in future. That will have an effect on some smaller independent developers for whom crowdfunding may be the only viable method of fundraising to bring their dream to life. In some cases we can lay the blame at the feet of large companies or wealthy individuals who essentially “abused” the crowdfunding model to create projects they could almost certainly have afforded to fund out of their own pockets. But some of the blame also lies at the feet of developers like Cloud Imperium Games, who have failed to deliver what they promised after more than a decade – while trying to convince players to buy in-game items that can cost upwards of $1,000. The whole thing gives crowdfunding a bad name.
Cloud Imperium Games is the company behind Star Citizen.
Your money is your own, and how you choose to spend it, donate it, or invest it is up to you. I would never tell anyone not to participate in a crowdfunding campaign, because at the end of the day it’s a personal decision. The gambler’s advice is always worth bearing in mind, though: “never invest more than you can afford to lose.” That’s true of poker games and it’s true of crowdfunding too.
I’ve been meaning to write this piece for a while; it was one of the articles I had in mind when I first created this website almost two years ago. Having spoken with several acquaintances who felt “scammed” by a crowdfunding project gone wrong, and seeing many comments and criticisms online of titles like Star Citizen from irate backers who feel – wrongly, I’m afraid – that they had something akin to a purchase guarantee or pre-order, I wanted to add my two cents to the conversation.
It’s my firm view that crowdfunding and pre-ordering are very different things, no matter how a project may be marketed. Some companies and individuals definitely cross a line, or come close to it, with how they talk about their projects and try to convince people to part with their money. But at the end of the day it’s up to us as individuals to make sure we understand what we’re getting into before we make any kind of financial commitment.
All titles mentioned above are the copyright of their respective developer, studio, publisher, etc. 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 minor spoilers ahead for the opening act of Red Dead Redemption II.
Red Dead Redemption II has been out for three years now – two years for the PC version – so it’s a bit late to just be getting started with the game! However, if you’re like me and missed it when it was new, maybe you’ll find my first impressions of the game helpful or interesting.
As I said when I included Red Dead Redemption II on my list of some great games I haven’t played, there was nothing about the game that put me off. In fact, Red Dead Redemption II was incredibly appealing to me – I find American history fascinating, particularly in the 19th Century, as it was a field of study while I was at university. Rockstar is also a developer whose titles are usually well-made and fun to play; they basically perfected their open world style with Grand Theft Auto III in 2001 and haven’t looked back. So there was a lot going for Red Dead Redemption II in 2018, but as someone with limited funds for gaming I couldn’t afford it at the time. The game ended up in what I call “the pile” – a long (and growing) list of games that sound great that I just haven’t got around to playing for one reason or another!
I finally got around to playing this game – it’s widely hailed as a masterpiece.
However, Red Dead Redemption II was on sale on Steam at some point in the last few months (I forget exactly when) and I was able to pick it up at a reasonable discount. The game’s massive 119GB file size took an eternity to download on my painfully slow internet connection, but I was able to eventually get the game installed and start playing.
Before we go any further, let’s acknowledge something important that too many fans and players have overlooked: Rockstar’s treatment of some of its employees. Though not at the same level as companies like Activision Blizzard or Ubisoft, both of which have wrangled with major scandals in the past couple of years, Rockstar pushed its staff hard in the run-up to Red Dead Redemption II’s launch. “Crunch” has been a part of game development for years, and when I worked in the video games industry I experienced it firsthand. In Rockstar’s case, “crunch” wasn’t always voluntary and some members of staff and ex-members of staff have gone on record sharing the physical and mental toll it took on them and their colleagues. In short, producing Red Dead Redemption II was difficult and even harmful for some people, and it’s important we acknowledge that and call out Rockstar’s poor working environment.
Is there a visual metaphor here? Surely not…
Setting that aside, let’s talk about Red Dead Redemption II itself. If I were to pick one word to summarise the game from the perspective of a complete newbie it would be “dense.” The game has a huge amount going on, and drops you into a story that’s already ongoing from the very first moment you boot it up. Red Dead Redemption II is a sequel – technically the third entry in its series – so on the surface that seems to make sense. But the game is actually set before the previous entry in the series, despite the confusing numbering!
The opening chapter of the game serves partly as a tutorial and partly as an introduction to the story and characters. As mentioned, though, it really did feel like protagonist Arthur Morgan’s story was already in progress. He and the gang are in the process of escaping a city after a job gone wrong, and maybe players of the first two games in the series know a bit more about what happened and why, but I certainly didn’t! I still don’t, in fact!
The game’s opening chapter sets up parts of the story and some of the characters, as well as introducing players to some in-game systems.
The opening sequence also gets you acquainted with some of the game’s systems – but by no means all. The signature “dead-eye” mechanic – which works similarly to the VATS system in the newer Fallout games, allowing Arthur to slow time and lock on to specific enemies prior to shooting – was one important gameplay element that the opening act of the game didn’t go into much detail on at all.
There’s hunting wild animals, combat with guns, unarmed combat, horse riding, horse care, picking plants, doing chores around the camp… and so much more going on in Red Dead Redemption II that it’s difficult to know where to start. The game’s opening act is mostly linear, taking place in a smaller area and with only a handful of missions that Arthur has to undertake in a certain order. But after departing the opening location in the high mountains and making camp, the open world is at Arthur’s feet – and it’s a big one!
Red Dead Redemption II’s game map.
Rockstar has always excelled at world design, but I confess I wasn’t sure how well the open worlds of the Grand Theft Auto series would translate to the 19th Century. The open worlds of games like Grand Theft Auto V were based around large modern cities with roads laid out for traversal by car. The world of the 19th Century was, in many ways, bigger because of how slow travel on foot or by horse and cart was. Red Dead Redemption II’s world captures that feel perfectly, and any doubts I might’ve had about an open world game using this kind of setting melted away faster than the snow in the mountains!
The game’s open world feels authentic. If you’ve ever seen old photographs of America in the late 19th Century, or even modern depictions of the era in television shows like Deadwood, you’ll instantly recognise the look and feel of everything from small farmsteads and frontier towns to the bustling big city with its industrial revolution influence. The visuals and graphics used to bring this world to life are stunning – the game is one of the most realistic-looking I’ve ever played, with moments of genuine beauty as I traversed its open world. I feel Red Dead Redemption II sucking me in because of how impressive its world design is; I want to spend more time in this incredibly real-feeling depiction of a time and place that has long fascinated me.
Arthur on horseback in the town of Valentine.
If you’ll forgive a history nerd geeking out about small things for a moment, things like the mud on the main street of the town of Valentine – the first major town Arthur is able to visit – and the wooden boards put down to the side to walk on do so much to capture what it must’ve felt like to actually walk through a town like that. These places were dirty and muddy, just like the game depicts, and even though it might seem like such a small thing it’s actually a huge part of the immersion for me.
The colour palette is likewise exceptionally important when it comes to capturing the look and feel of the time and place that Red Dead Redemption II is set. Most things in this era were made of wood or metal, so seeing Arthur walk over dirty wooden boards or eating stew from a beaten up old metal bowl are again minor details but they add to the immersion. Brighter colours were the preserve of the wealthy, so most townsfolk Arthur encounters are wearing drab colours: browns, tans, creams, and so on.
The game makes excellent use of colour.
Many buildings have a hitching post outside for patrons’ horses – because traveling by horse was the main way folks got around in the 19th Century. Life in those days was very different – and so much worse for practically everyone than it is today! But Red Dead Redemption II gives us a taste of what it might’ve been like thanks to all of these smaller details, and because I’ve had such an interest in the history of America in this era I find it absolutely fascinating.
Countless smaller details come together to present a game world that feels real and lived-in. And that’s before we get into all of the myriad realistic elements that Red Dead Redemption II includes through its gameplay systems. Obviously a lot of games have a day-night cycle, and as far back as Shenmue in 2000 I can remember seeing things like shops closing after dark and NPCs having their own daytime and nighttime routines. But Red Dead Redemption II goes all-in on the realism. Arthur has to eat and sleep. If he gets dirty he has to change his clothes or take a bath. In cold weather he needs appropriate clothing – likewise for hot weather. His horse needs to be cleaned, fed, and taken care of too. So do individual weapons – without proper care they stop working reliably.
Gang leader Dutch van der Linde.
Around the camp Arthur has chores to do. Some of these are basic things like chopping wood – which took me back to my youth as I was often assigned that chore at home in the late summer and autumn months! But it also seems to be largely the responsibility of Arthur to keep the camp supplied and to bring in money – without regular donations of food and other supplies, the camp quickly runs out.
At points I felt like I was playing Barbie Horse Adventures and not an authentic 19th Century outlaw simulator because of how much time I was spending playing with and caring for Arthur’s horse! Brushing the horse, feeding it, giving it pats, calming it if it got scared… horses need a lot of attention in Red Dead Redemption II! Luckily as an animal-lover – both real and virtual – I had a blast doing all of these chores, and even found time for Arthur to befriend several dogs as well!
Arthur with his horse. Horse care is a big part of the game.
On the flip side, Red Dead Redemption II offers a whole lot of animals to hunt. I confess to being squeamish about hunting in person; bird shooting, rabbiting, and even fox hunting all took place in the rural area where I grew up, but even as a kid I was uncomfortable with the idea of killing animals like that. That squeamishness has extended to the virtual world too – I can’t imagine playing a hunting simulator, for example. But Red Dead Redemption II makes hunting feel like a necessary part of Arthur’s life – and there are many in-game reasons to hunt as well, from making money to crafting upgrades.
There’s an in-depth tracking system that the game uses, allowing Arthur to investigate an area using a similar “slow time” animation to the aforementioned “dead-eye” system. After detecting an animal’s track, Arthur can follow it stealthily and then use an appropriate weapon to take the animal down. Some of the animations involved in hunting are very gruesome and gory, particularly when it comes to skinning an animal for its meat and hide. But as we were talking about, these details add realism to the game. Whether you think that’s a good thing in every instance… well, that’s up to you!
An example of the game’s “dead-eye” system.
Gunplay in Red Dead Redemption II is helped immensely by the dead-eye mechanic. However, even without this the game does offer a degree of lock-on targeting – something I find incredibly helpful. The game doesn’t have difficulty options per se, but there are a few ways to make things slightly easier, such as by making the lock-on targeting easier. Proper difficulty options would definitely be an improvement, though. I haven’t been involved in that many big shootouts yet, but so far I’m impressed with the third-person shooting aspect of the game. It stands up well when compared to many other action-adventure titles.
I find the game’s characters to be compelling. The excellent voice acting and beautiful, realistic animation brings them to life in a way many games simply can’t manage. Though Arthur is the main protagonist, the bond he has with the members of the gang makes each of them feel important to the story and worth helping or protecting.
After almost twelve hours of gameplay (including a short section I had to replay after messing it up) I feel like I haven’t even scratched the surface of Red Dead Redemption II. I’m only at chapter two of the game’s story, I’ve barely seen any of the open world, and I know for a fact that there are still in-game systems that I haven’t even unlocked. Red Dead Redemption II is a long game and an incredibly detailed one. I’m having a lot of fun with it right now, and it’s one of those rare titles that I find myself thinking about even hours after I stop playing. I honestly can’t wait to jump back in and play some more. It was definitely worth the wait!
Red Dead Redemption II is out now for PC, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series S/X. Red Dead Redemption II is the copyright of Rockstar Games and Take-Two Interactive. Some screenshots and promotional artwork courtesy of Rockstar Games and/or 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: Discovery Seasons 1-3 and the trailers and teasers for Season 4. Spoilers are also present for the following Star Trek productions: The Voyage Home, The Final Frontier, The Undiscovered Country, The Next Generation, First Contact, Voyager, Enterprise, and Picard.
Discovery’s fourth season is now less than a month away, so it’s time to look ahead. This time, though, I’m not going to be indulging in theory-crafting or even speculation… what we’re going to go through today are some of my wishes for the season. I did something similar last year in the run-up to Season 3, and if you want to see how my wishlist turned out you can find a follow-up piece I wrote after the season had aired by clicking or tapping here.
Season 3 did a reasonably good job at establishing the USS Discovery’s place in the 32nd Century, and though I have criticisms of several aspects of the Burn storyline, it was brought to a fairly conclusive end by the season finale. That should mean that the stage is set for a new story this time around, and on this occasion I’d like to lay out some of my personal preferences for Season 4 and how I’d like to see things unfold.
The USS Discovery in the Season 4 trailer.
The obvious caveat applies: I have no “insider information” and I’m not trying to claim that anything on the list below will be included in Season 4. This is merely a wishlist from a fan of Star Trek… nothing more. Everything I’m about to say is also entirely subjective! If I don’t include a point you want to see, or something I talk about sounds like something you’d hate, that’s okay. The Star Trek fandom is expansive enough for fans with all kinds of different points of view; we don’t need to fight, especially not about hypotheticals!
With all of that out of the way, let’s get into my Discovery Season 4 wishlist.
Number 1: A proper role for ex-Captain Saru that makes sense.
Saru in the Season 4 trailer.
One of the things I didn’t like about the short Season 3 epilogue at the end of That Hope Is You, Part 2 was that Saru was unceremoniously shuffled off Discovery. In order to make way for Burnham’s ascent to the captain’s chair, Captain Saru had to leave his position on the ship, and a way was found to make this plausible by giving him a deeply emotional connection to Su’Kal.
As a story point, I actually don’t fault any of that. Saru had been feeling alone and isolated with no other Kelpiens around in the 32nd Century, and his desire to help Su’Kal led to them forming a close bond. I can quite believe that he’d want to take a leave of absence to visit Kaminar and to spend more time with Su’Kal, helping him integrate into society as best he can after so long on his own.
Su’Kal and Saru in Season 3.
But unfortunately the rushed epilogue didn’t do justice to this story point, and quite frankly treated Saru with disrespect. Not since Dr Pulaski was dropped at the beginning of Season 3 of The Next Generation has a main character been handled so poorly, and I would have wanted – and expected – to see much more of a send-off for Saru. Not only had he been Discovery’s captain for all of Season 3, but he was a character we’d spent a lot of time with across Seasons 1 and 2 as well.
Season 4 will bring back Saru; he isn’t leaving the series as some folks had predicted, and I’m glad for that! But his role in Season 4 is unclear at best, and the biggest question I have is this: why does the USS Discovery need two captains on board?
Captain Saru was in command of the ship for a time.
In The Final Frontier and The Undiscovered Country, Kirk and Spock would serve on the same ship despite both holding the rank of captain, so it isn’t entirely without precedent in Starfleet for this situation to arise. In that case, though, Kirk had been demoted from the rank of Admiral, and in The Undiscovered Country in particular both officers held different positions: Kirk was in command of the Enterprise, Spock was in command of the overall mission to negotiate with the Klingons.
In short, I think the premiere of Season 4 (or whichever episode brings Saru back to the ship) needs to at least pay lip service to this point. Perhaps Saru could be given a title like “captain of the science department” in the same way as Scotty was “captain of engineering.” I wouldn’t want to see him demoted to the rank of commander – like poor Decker was in The Motion Picture! Presumably Captain Burnham has some degree of leeway when it comes to building her crew, so perhaps she’ll ask Saru to serve in a temporary role. Regardless, I hope Discovery doesn’t just ignore this point.
Number 2: Go into more detail about the ban on time travel.
The Enterprise-E approaching a temporal vortex.
The ban on time travel that was introduced in Season 3 was evidently intended to be a way for Discovery to avoid questions about how the Burn was able to happen, why Georgiou couldn’t simply return to her own time, and why the time-traveling Federation of the 29th and 30th Centuries that we’ve glimpsed in past Star Trek productions had ceased to exist. But the ban has created some storytelling issues in and of itself, and I would like Season 4 to at least try to address some of these.
Firstly, who enforces the ban? Admiral Vance seemed to imply that everyone in the galaxy – from the Emerald Chain to the Federation – simply goes along with it, but that doesn’t hold up to scrutiny. Yes, the Temporal War was certainly a bad thing. But as the war and its effects fade into memory, are we seriously supposed to believe that someone like Osyraa wouldn’t jump at the chance to use time travel to give herself and her faction an advantage? That’s to say nothing of factions like the Borg – are they signed up to the ban on time travel too?
Osyraa, head of the Emerald Chain in Season 3. She seems like someone who would use any weapon or technology at her disposal – regardless of any ban!
Even if the answer is “all pieces of time travel technology were destroyed,” that doesn’t really hold water either. It’s impossible to un-invent a powerful, weaponisable technology – as I said on several occasions during Season 3’s run! Even if everything were destroyed – something which seems like it would be impossible for every faction to prove – what’s to stop someone recreating it? The Emerald Chain had scientists like Aurellio at their disposal, and once the basic principles were understood it seems like rebuilding the technology would be a task within reach of anyone with the means and inclination.
Time travel was considered something so mundane in the 29th and 30th Centuries that its basic principles were taught in school across the Federation. Even if we discount early depictions of time travel (like the slingshot method seen in The Original Series), the fact that time travel is possible has been known to the Federation since the 22nd or 23rd Centuries at least, and even if we’re generous and say that time travel technology wasn’t “officially” invented until much later, the technology still existed for centuries prior to being banned.
The HMS Bounty was easily able to travel back in time by slingshotting around a star.
In today’s world, nuclear weapons are a comparable technology. If there were a worldwide ban on nuclear weapons, would we trust the likes of China or Russia to abide by it? Could we guarantee that every nuclear weapon was destroyed by our own governments, or might some covert hawkish faction seek to keep control of at least some of them as a contingency? In short, a ban on nuclear weapons is a noble ambition – but even in the aftermath of a nuclear war I can’t see it being workable. Even if such a ban were put in place, the weapons programmes of countries like North Korea prove that, with enough determination, anyone can recreate complex technology from scratch.
Perhaps there’s some kind of time travel arbiter that monitors the whole galaxy, and intervenes to prevent time travel from occurring. That would be one explanation. But it’s also possible that whatever this gravitational anomaly is is connected to time travel or the Temporal War – meaning Captain Burnham and the crew could be about to dive headfirst into a time travel story!
Number 3: Standalone episodes and smaller storylines to offset the main season-long arc.
The Season 3 two-parter Terra Firma was largely a standalone story.
Discovery used this formula to great effect in Season 3, which came after Seasons 1 and 2 had both leaned very heavily into serialised storytelling. I very much hope that Season 4 will continue in the same vein, because having smaller stories, character arcs, and fully standalone episodes added so much depth to the series.
We already know of one potential side-story: Adira and Gray, and in particular Gray’s quest to become corporeal again. That story has a lot of potential, and it’s actually one of the things I’m most looking forward to about Season 4. Hopefully there can be more side-stories like this, looking at other characters and taking some of our heroes to different and unexpected places.
Gray and Adira in Season 3.
Strange New Worlds has promised a return to a more episodic style of storytelling. I don’t expect that Discovery will go all-in on episodic television in the same way, not least because we already know that they have the mystery of the gravitational anomaly to solve. But I hope that, along the way, we get some detours and unconnected stories that take Captain Burnham and the ship to different places – literally and thematically.
This would be a great way for the series to show off characters who didn’t get as much to do last season, or who we haven’t spent much time with at all. Season 3 brought us an interesting story involving helm officer Keyla Detmer, and while that story wasn’t perfect it was great to spend time with a secondary character in far more detail than Discovery had ever done before. Which brings us to my next point…
Number 4: Make use of the show’s full cast – including secondary and recurring characters.
Some of the bridge crew at the end of Season 3.
As mentioned, Season 3 began this process. We got to spend more time away from Michael Burnham than Discovery had dared do in Seasons 1 or 2, and some of the episodes which placed Saru, Booker, and even Georgiou at their centre worked exceptionally well. I’d love Discovery to continue down this road, perhaps spending time with characters like Stamets – he didn’t get as much to do in Season 3 as some of the others.
With Georgiou departing for an unknown destination last year, there’s potentially space for another main cast member. We could see someone like Bryce, Rhys, or Nilsson promoted – or a character like Willa, Admiral Vance’s aide-de-camp from Season 3, join the crew. In some ways I’d like to see a new character, perhaps a 32nd Century Starfleet officer. Booker provides the crew with the viewpoint of a 32nd Century native, but he also has a different role as an outsider who isn’t a member of Starfleet. Bringing a new officer who’s native to this era aboard the ship could be an excellent move, one which could provide a lot of storytelling potential.
Detmer got her own storyline last season.
At the same time, giving more characters moments in the spotlight and their own arcs is something worth doing. We learned more about people like Owosekun, Detmer, and even Tilly in Season 3 than we ever had before, and continuing this trend by ensuring more characters get some degree of exploration is absolutely something I’d want to see.
In a season that will run for 13 episodes there’s obviously a limit; a ceiling on the number of characters and storylines that the series can fit. With that understood it obviously won’t be possible for everyone to get a fully-rounded character arc, their own storyline, and a spotlight episode putting them front-and-centre! But choosing some characters to give that amount of attention to is still important, and even those characters who don’t get a full story or their own episode this time can still have more to do than sit at their station and say “yes ma’am!”
Number 5: Bring back Nhan!
Could Nhan make a comeback?
Saru wasn’t the only character who left the USS Discovery and whose story feels incomplete. Nhan actress Rachael Ancheril was promoted to Discovery’s main cast at the beginning of Season 3 only to be shuffled off the show after only a few episodes. Nhan – the first Barzan main character in Star Trek’s history – was left behind to be the guardian of the USS Tikhov following a disaster that claimed the lives of the ship’s crew.
The Tikhov’s mission was an interesting one – it serves as a seed vault for the Federation, storing samples of plants from across the Federation and beyond. From the point of view of Nhan potentially reuniting with Burnham and the crew, though, the Tikhov was rotated between Federation member worlds, with representatives from each taking responsibility for the ship for a set period of time. Nhan seemed to suggest that she saw her mission as keeping the ship safe until the end of the Barzans’ tenure, after which it’s safe to assume the ship would be delivered to a new commander.
Nham hugs Burnham immediately before remaining behind on the USS Tikhov.
It wasn’t stated on screen how long each planet’s turn to look after the ship lasts, but that’s actually a good thing! It could be that each member world has to care for the ship for a year or two, or that it was almost the end of Barzan II’s tenure as guardians of the Tikhov – either of which could mean Nhan is almost done and could return to duty.
It was a shame that Nhan was dropped, and I don’t know if there were production-side reasons for the decision. It feels rather arbitrary, and while Nhan wouldn’t necessarily have had a huge role to play in the latter part of Season 3 she was a fun character and someone the show could and should bring back. The USS Discovery doesn’t have a permanent security or tactical officer – at least not among the main characters. Nhan could fill that role going forward, and it seems as if the ship could use a dedicated security officer based on all the scrapes that they get into!
Nhan watches the USS Discovery depart.
Nhan was also a character who provided a contrast to Michael Burnham. Where Burnham could go on emotional rollercoaster rides, Nhan was mostly stoic. And where Burnham had a loose interpretation of the rules and regulations, Nhan appeared steadfast in her dedication to Starfleet’s way of doing things.
As a character from an under-explored race, Nhan could do for the Barzans what Saru has done for the Kelpiens – showing us their history and culture in more detail. The Barzans only appeared a couple of times in Star Trek prior to Discovery, but there’s a chance for a connection with The Next Generation or to explain how they came to join the Federation – and perhaps why they chose to remain a Federation member even after the withdrawal of Earth and Ni’Var. Which brings us to the next point…
Number 6: Give us a broader look at the state of the galaxy in the 32nd Century.
A non-canon map of the galaxy. Image Credit: Star Trek Star Charts (2002) via Memory Beta
Season 3 focused primarily on two factions: the rump Federation and the Emerald Chain. Earth, Ni’Var, and Kwejian also appeared, though the first two are ex-Federation members. We know that the Burn decimated “the galaxy” and saw many Federation members quit the organisation, but that was 125 years ago – a lot can have happened since.
Though we briefly saw Cardassians, Lurians, and a few other familiar races, we know nothing about many others. What became of the Klingon Empire? The Dominion? The Borg? Was the Burn truly galactic in scope, reaching all four quadrants in equally destructive fashion – or could some parts of the galaxy have escaped some or all of the Burn’s impact?
Are the Borg still around in the 32nd Century?
Admiral Vance told us that 38 member worlds remained in the Federation – with Earth and Ni’Var being two of the most prominent members to leave. But if the Federation had over 350 member worlds at its peak, more than 80% have quit the organisation – or been conquered, destroyed, or had some other fate befall them. Barzan II appears to remain a Federation member, as does Kaminar. It’s possible based on the Season 4 trailer that Ni’Var will rejoin the organisation – but what of the others? Who’s left in the Federation? Who quit? Who joined after the 24th Century that we might recall from past iterations of Star Trek?
Prior to the Burn, did the development of warp or transwarp speeds allow the Federation to travel further and settle other parts of the galaxy, perhaps? Could races like the Ocampa and Talaxians have joined the Federation in the Delta Quadrant, for example?
In short, the 32nd Century is a vast sandbox for the producers and writers to play in! So far we’ve only seen a tiny little corner of that sandbox – so I hope Season 4 can broaden the view and show us a bigger picture of the state of the galaxy and its factions.
Number 7: More Admiral Vance!
Admiral Vance in Season 3.
In Season 3, Admiral Vance embodied the very best of Starfleet’s values. Even though he was dealt a very bad hand in the aftermath of the Burn, he remained loyal not only to the Federation and Starfleet, but to the ideals the organisations have always stood for. Even when negotiating with Osyraa – a powerful adversary – Vance refused to compromise on his convictions.
The arrival of Rillak – a new character who will serve as the Federation’s president – could mean that Admiral Vance is sidelined. If Burnham is reporting directly to the President it seems like she’ll be going over Vance’s head, or at least around him. I guess I’m just concerned that Discovery doesn’t really have space for two “big boss” characters, and that Vance may lose out to Rillak in terms of stories and screen time.
President Rillak could occupy a very similar narrative role to Vance.
It’s possible that Rillak is being set up in a deliberately antagonistic way, and that the decision was taken to keep Vance as a more sympathetic character. I didn’t really like Rillak’s interaction with Captain Burnham in the recent Season 4 trailer, but at the same time what she had to say wasn’t too far removed from what Vance had to say at a couple of points in Season 3. He could take a tougher line with Burnham and Saru when he needed to without coming across as one of Star Trek’s typical “evil admirals!”
Actor Oded Fehr brings Vance to life and gives him a real gravitas, and there’s scope to learn more about who Vance is and what makes him tick. Vance told us he has a wife and child; perhaps we could meet them and see how he is when he’s off-duty in a more casual setting.
When Osyraa and the Emerald Chain were plotting their attack on Federation HQ in Season 3 I was genuinely worried for Admiral Vance! The Emerald Chain attack didn’t kill him off – fortunately – so he lives to fight another day! I know we’ll see him in some capacity in Season 4, but I hope he gets more to do than just chair a few meetings.
Number 8: Kill off a main character.
Who could it be?
Speaking of characters who felt at risk, Season 3 only saw the character of Ryn killed off. Ryn was a fun character for sure, and his death was very sad, but at several key moments where Discovery could have been a little bolder at swinging the proverbial axe, main characters appeared to be safe thanks to their plot armour.
The character I felt most embodied this side of Season 3 was Owosekun. In the season finale it seemed as though she was about to make the ultimate sacrifice – setting off a bomb in a low-oxygen environment – but the Sphere Data-powered DOT robots saved her life at the last minute. There were other characters in that group, including Tilly, Detmer, Bryce, and Rhys, who likewise could’ve been killed off in the season finale.
All of these characters survived last season’s finale.
I’m not arguing for any one specific character to be immediately killed off, and as I like all of the main characters for their own unique reasons any death would be a tragedy! But some stories work better or feel more impactful when the heroes lose a friend, and the Season 3 finale would have undeniably had a lot more emotional weight if someone hadn’t made it to the end.
So Season 4, here’s your challenge: kill off a main character! Let’s not repeat what happened to Nhan and Georgiou, being shuffled off the ship to some other destination. And let’s not set up a story where everyone is in danger only to have them all miraculously saved at the end. Instead let’s actually kill off a major character at the right point in the story. Doing so would raise the stakes dramatically and hammer home that whatever threat Captain Burnham and the crew are facing is genuinely deadly.
Number 9: A character crossover from a past iteration of Star Trek.
The Doctor from Voyager.
This isn’t the first time I’ve suggested this idea! But as Lower Decks has shown on several occasions, bringing back a character from Star Trek’s past can be a lot of fun – and emotional for longstanding Trekkies. Last season I suggested Voyager’s Doctor – or rather, a backup copy of him from the Season 4 episode Living Witness – as a potential character crossover, as the chances of him being alive in the 32nd Century seemed higher than most!
Given Star Trek’s technobabble, however, an excuse could be found to bring back practically anyone. Characters from Enterprise, Deep Space Nine, or even Picard could all appear in some form – through stasis or cryogenic suspension, in synthetic bodies, as holograms, trapped in transporter beams, frozen solid under the surface of an ice planet… and so on! With a little creativity, Discovery Season 4 could find a way to bring back pretty much anybody, and doing so would be absolutely wonderful.
Scotty appeared in Season 6 of The Next Generation thanks to sci-fi magic!
Aside from Voyager’s Doctor, I could suggest Enterprise’s Temporal Agent Daniels, Picard’s Soji or Deep Space Nine’s Dax symbiont as contenders for characters who could potentially have survived to the 32nd Century through “natural” means. Soji, as a character in a series running alongside Discovery, would be a fascinating choice – but at the same time I could understand if the producers don’t want to go down that route for fear of affecting or restricting future Picard stories.
If I were to fantasise I might suggest a character like Riker or Chekov. Even if they were only seen as holograms or in a recorded message I think including a “classic” character like that would mean so much to fans. We saw something comparable to this in Season 3’s Unification III, where a hologram of Spock was briefly shown. But to bring back actors like Jonathan Frakes or Walter Koenig to record even just a short message that Captain Burnham could discover would be amazing.
Number 10: Make some kind of reference to anything from Lower Decks!
Lower Decks Season 2 has just finished its run.
Lower Decks has now got two seasons under its belt, and although there were some teething problems at first caused by the lack of an international broadcast during Season 1, the show has definitely hit its stride. It would be absolutely amazing for Discovery Season 4 to so much as name-drop an event, character, or location from Lower Decks, even if it was just a throwaway line that had no bearing on the plot.
This isn’t just about fan service, either. At present, Star Trek’s shows are all split up, occupying different places and completely different time-frames. There will be a connection between Discovery and Strange New Worlds when the latter premieres next year, but there’s no chance for a significant crossover. Name-drops and references are the next best thing, and a way for the Star Trek franchise to remain connected.
Ensigns Tendi, Rutherford, Mariner, and Boimler.
Having wholly standalone shows doesn’t make a lot of sense to me. It’s certainly true that Lower Decks and Discovery are very different in terms of style, tone, and subject matter – but as two parts of a larger franchise it doesn’t hurt to find ways to connect them. For fans it’s a nice “Easter egg,” but for casual viewers these kinds of connections can be the deciding factor in choosing to check out another show!
As Star Trek fans, we need as many people engaged with as much of Star Trek as possible – it’s the only way the franchise will survive into the future. Having different shows that appeal to different audiences is a great idea in many ways; it casts a broad net and should, in theory, bring in many more viewers and subscribers. But the next step is converting fans of one series to fans of the franchise as a whole – and if there are connections between the shows, even small ones, that’ll encourage at least some viewers to try other Star Trek shows. So if Discovery Season 4 could acknowledge Lower Decks in some way, I think that would be fantastic.
Number 11: Continue the theme of rebuilding – but at a reasonable pace.
Ni’Var seems to have rejoined the Federation.
Season 3 introduced us to the galaxy a century after the Burn. This event devastated the Federation and known space, and clearly saw a major power shift with factions like the Emerald Chain gaining strength. The Burn as a storyline may be resolved, but the galaxy can’t simply be “reset” to how it used to be. An event so devastating will take a long time to recover from. Ni’Var rejoining the Federation is a great first step, but I hope Season 4 doesn’t try to rush these things.
With the gravitational anomaly seeming to be the main focus of Season 4’s story, rebuilding the Federation may take a back seat. However, I’d like to see at least some progress in this area, as it could be one of the major sources of hope and optimism in the story of the post-Burn galaxy. With the dilithium cache from the Verubin Nebula under their control, the Federation is finally in a position to rebuild what has been lost over the past century or more – and from a narrative point of view, bringing wayward planets and races together is a story worth telling.
Independent Earth in Season 3.
At the same time, the story needs to acknowledge the severity of the Burn and strike the right balance when it comes to optimistically putting the pieces back together. Trying to rush this – or worse, trying to pretend that it all happened off-screen – would lead to a truly unsatisfying and unrealistic narrative.
Season 4 can’t simply pretend that the Burn is over and done with and completely move on to new stories. Even though the Burn was clearly intended as the main story of a single season, its massive implications and effects can’t be confined to Season 3 of Discovery. Any other Star Trek stories set in the 32nd Century – and beyond – will need to acknowledge the lingering effects of the Burn, and something as significant as rebuilding the Federation and bringing hope back to worlds that had lost it can’t simply be done off-screen so Captain Burnham and the crew can race away to their next big adventure.
So that’s it. A few of my hopes and wishes for the imminent fourth season of Star Trek: Discovery.
Grudge in the Season 4 trailer!
I don’t think I’d have chosen to go for another “galaxy-ending” apocalyptic threat if I’d been in charge of planning the story of Discovery Season 4. After the Klingon war in Season 1, Control and the Red Angel in Season 2, and the Burn, the collapsed Federation, and the Emerald Chain in Season 3 I would have liked to have seen Captain Burnham and the crew catch a break! Not every season has to be about the imminent destruction of the universe; stories which are smaller in scale can be just as dramatic and just as impactful when done right.
Regardless, this is the direction Discovery seems intent on going, and I’m interested to see what the gravitational anomaly is all about. I’m hopeful that Season 4 can deliver some fun, exciting, dramatic, and interesting Star Trek stories with Captain Burnham in command, and I’m very much looking forward to the new season. Even if none of my wishes are meant to be, Season 4 will undoubtedly still have plenty to offer.
Star Trek: Discovery Season 4 will premiere on Paramount+ in the United States on the 18th of November 2021. An international broadcast will follow on Netflix on the 19th of November 2021. 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 minor spoilers ahead for the titles on this list.
With Halloween fast approaching, it seems like a good time to once again dabble in the spookier side of cinema! Horror has never been my favourite genre, but at this time of year I’m not averse to the occasional spooky film.
This short list is a follow-up to a similar list I wrote last Halloween, so if you’d like to see five more horror films that I recommend, you can do so by clicking or tapping here.
It’s about to get spooky!
Horror as a genre can be incredibly varied. From jump-scares to the psychological terror of something unseen, and with such diversity of monsters, ghouls, and creepy critters, there are a lot of different titles that put their own spin on the horror concept. Whether you’re looking for serial killers, vampires, zombies, or demons, chances are you can find an excellent horror film that successfully brings them to screen!
I confess that I’m particularly sensitive to jump-scares, and now that I don’t feel the same kind of pressure to join in with horror titles as I did in my younger years (when watching horror films was almost a rite of passage!) I tend to favour films that don’t go for that style. Despite that, I hope you’ll find a varied mix of titles on this list!
Number 1: The Birds (1963)
Those birds are up to something…
Alfred Hitchcock is still considered one of the greatest directors of the horror and thriller genres, and for good reason. His pioneering style put viewers right at the centre of his stories, and every shot and every sequence was meticulously planned and crafted to maximise suspense and fear. The Birds is one of Hitchcock’s later films, coming toward the end of his career and following on from the likes of Vertigo and, of course, Psycho.
As a kid, I can remember being terrified by The Birds. The slow, tense build-up that Hitchcock’s films are known for is on full display in the title, with every scene and sequence gradually ramping up the threat to a terrifying climax. But more than that, the sheer randomness of birds as the “villain” of the piece is genuinely unsettling.
Birds are generally harmless. The worst a bird might do is steal your chips at the beach, but The Birds asks a question no one ever thought to ask before: what if they were working together to a menacing and aggressive end? It’s this premise – taking something harmless that we generally pay little attention to and making it scary – that makes the film succeed.
Number 2: Sleepy Hollow (1999)
Johnny Depp as Ichabod Crane in Sleepy Hollow.
Johnny Depp stars in this adaptation of the famous Washington Irving story, and the film brings the Headless Horseman to life in genuinely frightening fashion! The story of Ichabod Crane and the Headless Horseman is an old one, dating back to the early 1800s, and Washington Irving is considered one of the first great American authors.
Unlike the earlier Disney adaptation, Sleepy Hollow takes a distinctly adult horror tone. Director Tim Burton makes a number of changes to the source material, making the film an unpredictable ride even for those familiar with the original short story. Johnny Depp puts in a wonderful dramatic performance as Ichabod, too.
There’s something inherently frightening about the undead, and the first time the Headless Horseman is seen on screen manages to capture that feeling pitch-perfectly. Johnny Depp manages to perfectly convey Ichabod’s fear as well, ramping up the tension and making Sleepy Hollow a truly scary and spooky watch!
Number 3: The Omen (1976)
Gregory Peck as Robert Thorn in The Omen.
The Omen is an outstanding example of how to build up fear and tension without resorting to too many jump-scares or a lot of gore! It’s also a deeply disturbing film because of the implications of shadowy cults and conspiracies – and that’s before we even get to the birth of the literal anti-Christ!
When I first watched The Omen I was left unsettled for days afterwards. There’s a specific scene that I won’t spoil for you, but the build-up to a particularly shocking reveal in an Italian graveyard – and the implications it had for the film’s protagonist – left me stunned and disturbed! That particular memory is still vivid for me now, decades later.
As a film about demons, Satan, and the anti-Christ, The Omen was designed to be shocking and unsettling, especially to folks with any kind of religious convictions. And it succeeded beyond its wildest ambitions, becoming an absolute classic of the horror genre and spawning a franchise that still gets periodic updates and instalments today. Oh, and if you’re looking for a Star Trek connection, the film’s lead, Gregory Peck, was the grandfather of Ethan Peck – star of Discovery Season 2 and soon to be appearing in Strange New Worlds!
Number 4: 28 Days Later (2002)
The infected are coming!
With 28 Days Later, director Danny Boyle reinvigorated the zombie genre in a new and truly terrifying way! Prior to the film’s 2002 release, most zombies in cinema followed a pattern first popularised by George A. Romero in Night of the Living Dead – slow, shuffling, mindless creatures that were scary en masse but could be outrun by anyone fit enough. 28 Days Later introduced us to the infected – humans who were still alive but infected with a virus that turned them into killing machines… killing machines that could sprint!
Seeing the zombie horde running after the film’s protagonists was a new and incredibly shocking experience in 2002. Though a number of titles have used this more aggressive style of zombie in the years since, for me the portrayal in 28 Days Later remains one of the best and most frightening.
Technically not a “zombie” film as the infected aren’t undead, 28 Days Later nevertheless has a post-apocalyptic feel that is present in a lot of zombie fiction. Anyone who’s seen The Walking Dead (or read the original comic books) should note an eerie similarity in the way 28 Days Later opens… and remember that the film was released before the first issue of the comics!
Number 5: The Shining (1980)
Here’s… a classic horror film!
The Shining is an adaptation of a Stephen King novel, and as such it’s an unpredictable and very disturbing ride. Stanley Kubrick directed one of his last films, and adapted the book in truly inspired style. Some of the best-known moments in The Shining, including the famous line referenced above, weren’t present in the original book, and the film adaptation is arguably a rare example of a film surpassing its source material.
The film features some truly outstanding special effects. The “blood flood” scene has gone on to become iconic, and was shot in miniaturised form using detailed scale models. The practical special effects give the film a unique charm that today’s CGI can’t match, and in some cases the use of incredibly realistic practical effects ramps up the fear factor.
Jack Nicholson gave the world one of cinema’s most iconic scenes. But The Shining is so much more than that, and his character’s slow descent into madness is what makes the film so tense, exciting, and frightening.
So that’s it! Five horror films to get you into the Halloween spirit.
Don’t have nightmares…
Remember to check out last year’s list for five more horror titles you might enjoy – you can find it by clicking or tapping here. And if you’re interested to see my review of last year’s television adaptation of another Stephen King work, The Stand, you can find that by clicking or tapping here.
I tried to put together a collection of films with different themes, styles, and subjects! Horror is an incredibly varied genre, and just in the five films above we have the natural world turned against us, an undead horseman, Satanism, technically-not-zombies, and finally a film with ghosts and a mad man. And we’ve barely scratched the surface!
Halloween is almost upon us, so stay tuned over the next few days – I have a couple more spooky ideas before the main event rolls around!
All titles included on the list above are the copyright of their respective studio, distributor, production company, broadcaster, etc. 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 Luigi’s Mansion 3.
Time flies very quickly, doesn’t it? I think that might be the single spookiest thing about my playthrough of Luigi’s Mansion 3! I started playing last October, with a view to putting out a full “Let’s Play” series of articles in the run-up to Halloween, but once Halloween had passed by I put the game on the back burner for a while.
I like Luigi’s Mansion 3. It’s a fun game with some clever mechanics involved, there aren’t any bugs or random spikes in difficulty, and overall it’s the kind of sweet, lightly scary fun that I like to see at this time of year. From my perspective, though, it just didn’t make for a great game to write about in-depth for a full series of articles.
Let’s wrap up Luigi’s Mansion 3.
The reason for that is simple: Luigi’s Mansion 3 has some fantastic gameplay but is relatively light on story. You know the premise: the spooky Hellen Gravely and King Boo have kidnapped Luigi’s friends, and over the course of a dozen or so levels – represented by the floors of the Last Resort hotel – Luigi has to fight various ghosts and spirits to get them back.
In short, the fact that I can summarise the game’s entire story in a couple of sentences encapsulates what made it a struggle to write about in such depth. I could easily write a review of the game – but to give a blow-by-blow account of every interaction on every level, which I tried to do at first, quickly became repetitive. I didn’t think the articles I was putting together were all that interesting to read, let alone entertaining, so I really didn’t know what to do with Luigi’s Mansion 3 for a while.
The game’s title screen.
I kept promising myself that I’d get back to the series once I had a better idea for making the write-ups interesting. But the only thing I could really think of was condensing the articles into fewer instalments, and even then I still didn’t like what I’d produced.
This website has involved a degree of experimentation on my part. Some things developed organically – like the weekly Star Trek theories I write when a new season is running. Others have been attempted, but for various reasons didn’t work as I initially hoped. The Luigi’s Mansion 3 series of articles has been one such disappointment.
Figuring out how to write about Luigi’s Mansion 3 was a challenge.
However, I like to think I’ve learned something worthwhile from the experience! The biggest takeaway for me is that I have more to say and more to talk about when a game has a strong narrative. Once I’d got the prologue out of the way and settled into the Luigi’s Mansion 3 gameplay loop, I found myself running out of things to say. That says something about the way I write as much as it does about games like Luigi’s Mansion 3, and I know that a lot of people have published playthroughs focusing on this game – and many other titles with a comparable style. But this is my website, and I have my own way of writing and of approaching this format!
I would definitely like to do more playthroughs – but as I approach the subject again, I need to consider the choice of games carefully. I chose Luigi’s Mansion 3 last October specifically because it had a spooky theme, but I didn’t really stop to think about how the game works and what I’d be able to write about at the end of each play session. Having learned a thing or two as a result of this experience, I’d like to think any future playthrough series will be a much more interesting read from your point of view – and a much more enjoyable writing experience from mine!
The titular Luigi.
With all of that out of the way, what did I think of Luigi’s Mansion 3? Having never played the first two games in the series, I was coming at the game from a newbie’s point of view. There were a couple of points where having a bit more knowledge of either the greater Mario franchise as a whole or the prior Luigi’s Mansion titles might’ve provided a player with a little more – but this was mostly in the form of “easter eggs” and references; nothing story-wise or gameplay-wise relied on knowledge of other games.
And that’s the way it should be! Luigi’s Mansion 2 came out for the 3DS in 2013, and the original game was a launch title for the GameCube back in 2001, so expecting Switch players in 2019 – when the game was released – to remember everything from the previous two titles would’ve been an impossible ask! I felt Luigi’s Mansion 3 was approachable and newbie-friendly.
The first title in the series was released in 2001 on the GameCube.
Nintendo’s first-party titles are almost always high quality. I didn’t encounter any bugs or glitches, and only a couple of very minor graphical issues. Luigi’s Mansion 3 looked decent even on my 4K television screen, and the Switch’s graphics in general are fantastic considering the console’s size and portability. With a file size of only a little over 6GB, Luigi’s Mansion 3 packs a lot into a small package – making it quick to download and easy to store even on the Switch’s limited internal storage.
Gameplay was fun, and offered several completely unique elements that I’ve never experienced in other titles. Luigi’s main weapon is his vacuum – the Poltergust G-00 – which makes a return from the two older titles, albeit in an updated form. This fun and unique weapon allows Luigi to tackle ghosts in a variety of ways, including slamming them into the ground, bashing them against each other, and firing a shockwave.
Gameplay was great fun.
The Poltergust can also be used to fire a plunger which can be used to interact with the environment. Though it does have applications in combat, the plunger shot was largely useful for navigating previously-blocked areas of the hotel as well as uncovering secrets and hidden items spread throughout the game world.
The addition of Gooigi – Luigi’s gooey doppelganger – made navigating levels much more interesting. Areas that Luigi couldn’t access on his own were easy for Gooigi to reach, and this had functionality both to advance the main story and for idle exploration and retrieving hidden gems. Having two playable characters with different abilities isn’t something new in video games, but Gooigi put a unique and fun spin on the concept, and came in handy on many different occasions!
Gooigi and Luigi.
Story-wise, Luigi’s Mansion 3 was pretty basic. That’s to be expected, though, and what story there was was done very well. These kinds of games don’t go all-in on big, believable narratives, and that’s absolutely fine. What mattered in Luigi’s Mansion 3 wasn’t really the story but the gameplay, and in that regard the game was an enjoyable experience.
Hellen Gravely was a King Boo superfan, and kind of a parody of a certain type of obsessive fan that I think we all see from time to time. Otherwise the story was a riff on a very familiar concept in the Super Mario series – a nefarious evil-doer has kidnapped someone special to our hero, and he must fight his way past the baddie’s minions, working his way up to defeating the big bad herself, in order to save them all.
Hellen Gravely, the game’s villain.
Trapping Mario and the others in paintings was itself a riff on the Super Mario 64 idea, at least on a superficial level, so in that sense nothing about the story of Luigi’s Mansion 3 was groundbreaking. What it did was put its own spin on a couple of existing concepts, then execute those ideas very well. As escapist entertainment it was perfectly enjoyable, and there was enough of a story to keep the game’s momentum going.
As someone who isn’t really into horror, what I liked about the setting was that it retained a spooky, creepy aesthetic, but kept things kid-friendly. I would wager that all but the most sensitive of children would be able to play and enjoy Luigi’s Mansion 3, and as a game to play in the run-up to Halloween I can hardly think of a better one! Striking the right balance in a game all about ghosts in a haunted hotel is a tricky task, and it would’ve been easy for the game to slip up and become scarier than intended. Luckily it avoided that particular pitfall.
I had fun with Luigi’s Mansion 3.
So Luigi’s Mansion 3 is an odd one for me. I failed in my mission to write up a full playthrough, but despite that I actually had fun with the game itself. The fact that it didn’t make for a good writing project is more to do with how I like to write and what I look for when it comes to writing up a full playthrough of a game. Luigi’s Mansion 3 is everything you’d want from a title of this nature.
I’ve been meaning to write this conclusion for a little while now, and October seemed like the right month once again! To those of you who tuned in for my Luigi’s Mansion 3 playthrough last year, thank you. I hope you enjoyed the pieces that I was able to write. Stick around, because I’ve got other ideas for playthroughs that – fingers crossed – will be more substantial!
Luigi’s Mansion 3 is out now for Nintendo Switch. The Super Mario franchise – including Luigi’s Mansion 3 and all other 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.
Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Search for Spock, The Next Generation Season 3, Nemesis, Deep Space Nine, Voyager, and Star Trek 2009.
Over on Disney+, Marvel has recently put out a series of animated short films with a very interesting premise. These shorts asked what might’ve happened in the Marvel universe if circumstances had changed, characters had taken different actions, or things had ended differently.
Alternate history has always been a subject that fascinated me! So with that in mind, we’re going to consider a few “what ifs” from the Star Trek franchise – from an in-universe point of view, naturally! There are more than 800 Star Trek stories at time of writing, meaning that there are literally hundreds of potential scenarios where a different decision or different outcome could have radically changed the Star Trek galaxy.
Inspired by Marvel’s What If…? series, we’re going to put a Star Trek spin on this concept!
As always, please keep in mind that all of this is one person’s subjective opinion! I’m indulging in fan-fiction and pure speculation based on my own thoughts about how some of these scenarios might’ve unfolded. If you hate all of my ideas, or something you like wasn’t included, that’s okay! Within the Star Trek fandom there’s enough room for different opinions.
With that out of the way, let’s consider some Star Trek “what ifs!”
Number 1: What if… Captain Picard couldn’t be saved after being assimilated?
Locutus of Borg.
This isn’t going to go the way you might be expecting! In this scenario, the events of The Best of Both Worlds play out as we saw on screen: Picard is captured, the Borg defeat the Federation at Wolf-359, Riker and the Enterprise race to confront them over Earth, and Captain Picard is able to communicate to Data how to defeat them. The Borg cube explodes, and the Federation lives to fight another day! But unfortunately Captain Picard then dies – severing his connection to the Collective and/or removing his Borg implants was too much for his body and mind to take, and he doesn’t survive beyond the end of The Best of Both Worlds, Part II.
As Starfleet and the crew of the Enterprise-D mourn the loss of Captain Picard, Captain Edward Jellico is assigned to the ship as his replacement, and many of the events later in The Next Generation proceed unaltered. As Q would tell Picard in the episode Tapestry, even without him in command the Enterprise-D and Starfleet would be fine.
Captain Edward Jellico.
The Federation, armed with new knowledge of the Borg, developed new ships like the Defiant-class and Sovereign-class, and were even able to defend against a second Borg incursion a few years later – albeit at great cost. But the loss of Captain Picard would have a huge impact later, in the year 2379. A coup on Romulus brings a human clone to power – Shinzon. Shinzon’s plot to destroy the Federation was only stopped because of his personal connection to Picard, a connection that fascinated him and that he hoped could save his life.
Without that obstacle in the way, Shinzon sees no reason to wait or to play nice with the Federation before implementing his plan. He takes his flagship, the Reman warbird Scimitar, and heads straight for Earth before the Federation even has time to respond diplomatically to the change in government on Romulus. Under cloak, the Scimitar deploys its thalaron radiation weapon – massacring all life on planet Earth and crippling the Federation government and Starfleet command.
Without Captain Picard to pose a distraction, Shinzon was able to launch his attack on Earth.
With war now assured between the Romulans and Federation, Romulan commanders who had been sceptical of Shinzon rally to the cause. All-out war breaks out between the Romulan Empire and the residual Federation, but without a government or command structure to provide a coordinated response, and seriously demoralised from the attack on Earth, things don’t go well for Starfleet. The Scimitar proves to be an unstoppable force all on its own, and its thalaron radiation weapon is able to devastate multiple other planets: Betazed, Andoria, Alpha Centauri, Mars, and others. The Federation is forced to sue for peace on very unfavourable terms.
However, Shinzon wouldn’t live to see the Romulan victory. Without the original Picard, there was no way to save his life from the DNA degradation that he was suffering from, and shortly after the Federation’s defeat Shinzon dies. His Reman viceroy would succeed him as the new leader of the Romulan Empire, an empire which now incorporated large swathes of what had once been Federation space. Whether the Romulans could hold all of this territory, and whether their empire would accept a Reman leader, are now open questions…
Number 2: What if… Spock wasn’t resurrected on the Genesis Planet?
Spock’s empty coffin on the Genesis Planet.
This scenario sees the events of The Wrath of Khan unfold exactly as we saw on screen. Khan stages an attack on the Enterprise, steals the Genesis device, and is defeated at the Battle in the Mutara Nebula. Spock sacrifices his life repairing the Enterprise’s warp drive, allowing the ship to outrun the blast of the Genesis device. But in our alternate world, Captain Kirk doesn’t give Spock a Starfleet funeral. Instead Spock’s remains are returned to Vulcan, in line with his and his family’s wishes. There is no chance for a resurrection because Spock never came into contact with the Genesis Planet.
Spock would indeed prove instrumental in several key events later in his life that now can’t happen. But we’re going to focus on the Kelvin timeline today. Spock’s actions in the Kelvin timeline saved Earth from Nero’s attack – but without his presence there’s no one to stop the crazed Romulan commander.
Nero.
Assuming that Nero arrived in the Kelvin timeline thanks to Red Matter (presumably deployed by someone else from the Federation as part of a plan to save Romulus), he has no reason to wait for Spock before enacting his revenge plan. After destroying the USS Kelvin (killing the infant Kirk in the process), Nero races to Vulcan and destroys the planet in the year 2233 – decades earlier than he would during the events of Star Trek 2009. Before the Federation even has time to realise what’s happening, and with Vulcan still collapsing, Nero heads to Earth and deploys his weapon for the second time – destroying the planet.
Nero then moves on quickly, targeting Tellar Prime and other Federation member worlds and colonies. The devastating losses mean it takes Starfleet a while to reorganise, but eventually the remaining fleet comes together to make a last stand over Andoria – the last remaining Federation member world. The battle against Nero’s powerful flagship is long and incredibly difficult, but Starfleet eventually prevails through sheer numerical advantage – despite suffering huge losses.
The Narada and the USS Kelvin.
Nero’s defeat wouldn’t mark the end of the rump Federation’s problems, though. With many planets and colonies destroyed, more than half the fleet lost, and millions of people turned into refugees, the Federation is an easy target. First the Klingons come, seizing planets and systems near their borders. Then the Gorn, the Tholians, and the Romulans also join in, picking off star systems that the Federation could no longer manage to defend. Federation space shrinks to a small area in the vicinity of Andoria.
The Andorians were not happy with the large numbers of refugees who sought them out, though. Plans were put in place to resettle humans, Vulcans, Tellarites, and others on new colony worlds, even though doing so would leave them vulnerable. After being kicked out by the Andorians, the remaining Federation members maintained their alliance more out of fear and necessity than anything else. How long these small populations can survive in a hostile galaxy is unknown…
Number 3: What if… the USS Voyager went the other way?
The USS Voyager.
The events of Voyager’s premiere episode, Caretaker, play out much the same as they did on screen in this scenario. But after that, things take a very different turn – literally! The Maquis raider Val Jean, under Chakotay’s command, is transported to the Delta Quadrant by an entity known as the Caretaker. The USS Voyager is likewise transported by the Caretaker’s Array, and after the death of the Caretaker and a short battle with the Kazon, Captain Janeway orders the destruction of the Array. Voyager must find a way home.
Instead of taking the most direct route to Earth, Captain Janeway and the crew of Voyager consider an alternative idea – heading for the Gamma Quadrant, and the far side of the Bajoran Wormhole. From there it would only be a short journey back to Earth! The crew debate the ideas for a while, and there isn’t a clear consensus. No starship has ever undertaken such a long journey before, so there really aren’t ground rules for route planning when it comes to long-distance interstellar travel.
A non-canon map of the Star Trek galaxy. Image Credit: Star Trek Star Charts (2002) via Memory Beta
Using the map above (which is non-canon) as a guide, the crew quickly figure out that both a direct route home via the Delta and Beta Quadrants or an indirect route via the Gamma Quadrant and Bajoran Wormhole are roughly the same length and would take roughly the same amount of time.
The two crews can’t agree at first. Chakotay and the Maquis, keen to avoid going anywhere near Cardassian space and fearing being turned over to Cardassian authorities upon their return, firmly advocate for the Delta Quadrant route. Neelix claims to be familiar with space in both directions and along both routes, but ultimately the decision falls to Captain Janeway.
The choice of route ultimately falls to Captain Janeway under the “my ship, my decision” principle.
Somewhat ironically when considering her actions in Endgame, Janeway chooses the Gamma Quadrant route. Why? She’s fearful of the Borg, naturally. Whatever dangers and obstacles may await Voyager in the Gamma Quadrant, she tells her crew, Starfleet has known for years that the Borg’s home territory is the Delta Quadrant. Taking that path seems positively suicidal in comparison, so Voyager will instead head for the Gamma Quadrant terminus of the Bajoran wormhole.
Voyager’s superior technology makes battling the Kazon sects in the area around the Caretaker’s Array relatively easy, but they have to be careful to avoid space claimed by the Haakonian Order – the conquerors of Neelix’s people, the Talaxians. After they leave their starting region, though, the truth is that we simply don’t know very much at all in canon about this area of space. Would Voyager find a faster way home through some technological means or natural phenomenon? Or would the ship and crew have to undertake a slow, decades-long journey to reach the wormhole? Would they even survive at all, or instead fall victim to some villainous faction or dangerous anomaly present in this unexplored region?
Number 4: What if… the USS Discovery didn’t go into the far future?
Michael Burnham and the USS Discovery at the mouth of the time-wormhole.
I already have a theory discussing in detail why I think the USS Discovery didn’t need to go into the far future based on the outcome of the battle in Such Sweet Sorrow, Part 2 – and you can find that one by clicking or tapping here. For the sake of this scenario, though, all we’re going to say is that somehow Captain Pike, Burnham, and Saru figured out a way to defeat the Control AI without sending the USS Discovery into the 32nd Century.
Obviously some changes wouldn’t appear until the 32nd Century. Without the USS Discovery and Michael Burnham, no one is able to discover the source of the Burn or the huge cache of dilithium in the Verubin nebula. Without the USS Discovery and its Spore Drive to fight over, the Emerald Chain doesn’t stage a bold attack on Starfleet HQ. Su’Kal would almost certainly die alone when the KSF Khi’eth is destroyed – whether that event would trigger a second Burn is unclear.
A second Burn could occur.
But more substantial changes could have taken place in the Star Trek galaxy centuries earlier. With the Spore Drive still in existence in the 23rd Century, it stands to reason that Starfleet would have continued to explore the technology – it works, after all, so if a new way of navigating the mycelial network could be discovered, the Spore Drive would be an absolute game-changer for the Federation.
At some point, Starfleet scientists would hit upon the idea of using empaths to connect to the mycelial network in place of augmenting human DNA. After promising test flights using Betazoid and even Vulcan navigators, in the late 23rd Century Starfleet is able to begin a wider rollout of the Spore Drive. At first a handful of ships are kitted out as rapid-response vessels, able to jump across Federation space at a moment’s notice to assist with emergency situations.
Starfleet is able to kit out a whole fleet of Spore Drive-enabled starships.
The Spore Drive would soon attract the attention of other factions, however. Unwilling to allow the Federation a massive tactical advantage, particularly in the aftermath of the Federation-Klingon war, the Klingon Empire begins development on their own Spore Drive programme. The Romulans follow suit, and by the early part of the 24th Century the Spore Drive has become a mainstay of interstellar travel in the Alpha and Beta Quadrants.
No longer limited by geography or travel time, Starfleet is able to jump to interesting-looking phenomena across the galaxy with ease, initiating dozens of first contacts decades ahead of schedule. On one unfortunate occasion, however, a Spore Drive ship jumps to the Delta Quadrant… right into the heart of Borg space. The Borg quickly assimilate the vessel, taking the Spore Drive technology for themselves and putting a target on the Federation’s back. Due to the distances involved, Starfleet remains unaware of what happened, merely recording the USS Discovery-C as “missing in action…”
Number 5: What if… Benjamin Sisko wasn’t the Emissary of the Prophets?
Commander Benjamin Sisko.
Ignore for a moment the revelation from Image in the Sand about Benjamin Sisko’s Prophet-induced conception! For this scenario, we’re considering that there were two occupants of the Runabout which first discovered the Bajoran Wormhole: Sisko and Jadzia Dax. Though the Prophets would choose Sisko as their Emissary, they could just as easily have chosen Dax instead.
Jadzia Dax returns from the wormhole having been anointed by the Prophets as their Emissary, and receives much respect and adoration from the Bajorans. Meanwhile, Sisko makes good on his threat and quits Starfleet, returning to Earth. Jadzia is promoted to the rank of commander and given “temporary” command of DS9, due in no small part to the way the Bajorans feel about her.
Jadzia Dax assumes command of Deep Space Nine.
First contact with the Dominion occurs, and shortly afterwards the Dominion and Cardassians form an alliance – the work of Dukat, formerly the commander of Bajoran occupying forces on Bajor. The Dominion Cold War begins. Behind the scenes, Dukat is researching the Pah-wraiths, the ancient noncorporeal enemies of the Prophets. In disguise he travels to Deep Space Nine with a lone Pah-wraith, and in the course of unleashing the entity into the wormhole, kills Jadzia.
With no Emissary on the outside to come to their aid, the Prophets are fighting a losing battle against the Pah-wraiths while the Dominion War rages. The loss of Dax, though distressing to the crew of DS9 and her husband Worf, doesn’t appear to matter to the Federation war effort… not at first. In fact, the wormhole’s closure appears to provide the Federation alliance a reprieve, as the threat of Dominion reinforcements is reduced.
Jadzia is killed by the Pah-wraiths.
However, without the Orb of the Emissary re-opening the wormhole and expelling the Pah-wraiths, things go badly for the Prophets. When Dukat is able to implement the next phase of his plan and release the rest of the Pah-wraiths from the Fire Caves, there’s no one to stop him. The Pah-wraiths seize control of the wormhole, and as a thank you to Dukat they destroy the Federation minefield, allowing a massive fleet of Dominion reinforcements through the wormhole. The Dominion conquer DS9 and Bajor with ease.
With no way to stop Dominion reinforcements pouring in through the wormhole, the Federation alliance moves into attrition mode, trying to hold the existing front line for as long as possible against repeated Dominion attacks. Though the Pah-wraiths don’t actively take part in the fighting, their involvement allowed Dukat and the Dominion to swing the balance of the war back in their favour. By controlling Deep Space Nine and the wormhole, the Cardassian-Dominion alliance has the Quadrant’s most significant asset. It seems like only a matter of time until the Federation will have to sue for peace, if the Dominion would even accept…
So that’s it! Five Star Trek “what ifs!”
There are many more “what if” scenarios in the Star Trek universe!
I can already think of more, so watch this space. I might return to this concept in future. I hope this was a bit of fun, and a chance to consider some alternative outcomes to some of the events we’ve seen across Star Trek’s history. I tried to pick a few different ideas from different productions – otherwise this could’ve been “five Captain Picard what ifs!”
As always, this was really just an excuse to spend a little more time in the Star Trek galaxy. It’s totally fine if you disagree with any of the storylines I’ve suggested today, or if you think this whole concept was a silly idea! None of this will ever make it to screen, and it was more of a thought experiment and creative writing project than anything else. I had fun putting this together – and I hope you enjoyed reading it.
What If…? and the logo for the series are the copyright of Marvel and The Walt Disney Company. The Star Trek franchise – including all films and series 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 last couple of years have been a mixed bag when it comes to bringing back classic games. The likes of Resident Evil 2 and Crash Bandicoot have been remade from the ground up and released to critical acclaim… but then titles such as Kingdoms of Amalur: Re-Reckoning and Mass Effect: Legendary Edition have been lacklustre at best, with minimal effort put into what basically amounted to a repackaging.
It’s in light of games like Mass Effect: Legendary Edition – which is one of the most disappointing titles of 2021 for me personally – that I look upon the clumsily-named upcoming title Grand Theft Auto: The Trilogy – The Definitive Edition. With the game seemingly quite close to release but nary a teaser video nor screenshot in sight, I can’t help but feel that it will be, at best, better described as a repackaging or a re-release… one with a hefty new price tag slapped on.
Three older games are getting the so-called “remaster” treatment from Rockstar.
When Warcraft III was “remastered” last year, the original version of the game was pulled from sale. Fans could no longer play the original Warcraft III, and that became a massive problem when the “remaster” ended up being absolutely atrocious. Promised features were missing, the game was riddled with bugs, and overall fans considered it an awful experience. With no way to return to the original version of the game, many fans were left stuck.
The reason I bring up Warcraft III: Reforged as an example of a “remaster” gone wrong is because Grand Theft Auto developers Rockstar have chosen to do the exact same thing with The Definitive Edition’s three constituent games. All three have been de-listed – industry slang meaning they’ve been removed from sale digitally – on all of the platforms where they had been available. As attention shifts to the remaster, Rockstar doesn’t want anyone to be able to purchase the original version of these games.
Warcraft III: Reforged is an example of how not to handle a remaster.
Why? That’s the obvious question. “Money” is part of the answer; Rockstar doesn’t want the renewed attention on these three games pushing people to just pick up the original versions of one or more of the titles instead of paying a reported $70 (£60-65 in the UK) for the new version. But if the remaster is anywhere close to being as good as it should be, that shouldn’t even be a concern!
In short, Rockstar’s decision to pull Grand Theft Auto III, Vice City, and San Andreas from sale is the biggest and most clear indicator so far that they don’t have confidence in their own product. They’re already anticipating that the “remaster” is going to be savaged for making no changes or minimal changes to these three older games, so in order to force players to buy it and artificially inflate sales they’ve chosen to pull the original versions from sale – just like Blizzard did with Warcraft III. Despite Mass Effect: Legendary Edition’s many issues, EA and BioWare didn’t have the audacity to pull the original versions of the Mass Effect trilogy from sale.
Promo art for Grand Theft Auto: The Trilogy – The Definitive Edition.
I have happy memories of Grand Theft Auto. Scoring the original game in 1997 or ’98 – hot on the heels of press complaints about its violent nature and knowing it would irritate my parents – was a fun adventure and scored me bragging rights with my friends at the time! Someone I knew even got in a ton of trouble for buying the game before he turned 18! The three games from the early/mid 2000s that will be part of this remaster are also games I remember with fondness from that era. I picked up a set which included Grand Theft Auto III and Vice City for the original Xbox, then got San Andreas when it was released a couple of years later.
On the Xbox, it was possible to listen to custom soundtracks while cruising around Vice City or Los Santos. The Xbox allowed players to rip CDs to its internal hard drive, which could then be accessed in certain games – and the Grand Theft Auto titles were among them. When I lived with friends during that period, kicking back to play some Grand Theft Auto was a frequent evening and weekend pastime – and though I have no doubt I’m over-romanticising those memories (because damnit Rob, you always hogged the control pad and it drove me mad!) I still have very positive memories of these three titles as social games and as escapist entertainment with friends.
I have fun memories of playing all three games in this set.
I’m sceptical that Rockstar – a company which has spent much of the past decade milking one successful game and not creating anything new – has Grand Theft Auto’s best intentions at heart with this remaster. The price tag is already generating a fair amount of sticker shock, and rightly so, but I doubt the remaster’s issues will end there.
Where are the screenshots, teasers, trailers, and gameplay videos that we should expect to see for a game that’s supposedly weeks away from release? Having seen nothing at all except one piece of box art, I feel certain that Rockstar is hiding the game for a reason. And that reason is probably simple: The Definitive Edition will be better described as a re-release or repackaging than a “remaster.”
We’re still yet to see any screenshots or a trailer for The Definitive Edition.
The Definitive Edition – lacklustre or not – has been created for one reason, and one reason only: to get fans to shut up about the absent Grand Theft Auto 6 for a while. It’s a cheap and easy way for Rockstar to throw fans a bone while continuing to ignore the one thing that’s been requested over and over for almost eight years. Rockstar is unwilling to let go of Grand Theft Auto V and its lucrative online mode, but with fans increasingly agitated by the company’s antics – such as re-releasing the game yet again on the new PlayStation 5 and Xbox Series S/X – they evidently felt that they had to be seen to offer something.
Remastering Grand Theft Auto III, Vice City, and San Andreas was clearly seen as a way to do that without having to shift any development resources away from Grand Theft Auto V and its online mode. The wheels will come off that juggernaut sooner rather than later, though, as the backlash to the announcement of the game’s re-release on the latest generation of consoles showed. I hope Rockstar has been working on something more than The Definitive Edition for when that moment comes – because it’s coming soon.
I might’ve been tempted to go back and replay these three games, but it seems like The Definitive Edition won’t be the best option for doing so, especially not at the price that has been discussed in recent days. But fundamentally, what the Grand Theft Auto series needs is not a re-release of three older titles that are still perfectly playable in their own right, but a proper sequel. Rockstar hopes that The Definitive Edition will buy them some time. Maybe they’re right – but only if it’s any good, and nothing I’ve seen or heard so far has convinced me that it will be.
Grand Theft Auto: The Trilogy – The Definitive Edition will be released before the end of 2021 for PC, PlayStation 4, PlayStation 5, Nintendo Switch, Xbox One, and Xbox Series S/X. The Grand Theft Auto series is the copyright of Rockstar and Take-Two Interactive. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Shortly after Animal Crossing: New Horizons launched in March last year, here’s what I had to say about the game in my review: “When I compare New Horizons to New Leaf, a game that I played way more and for way longer, I feel at least a little disappointed. New Leaf seemed to offer more to do when the shine of playing a new game wore off, and it certainly offered significantly more in terms of playing with friends…”
Many of the criticisms I made of the game – most notably the lack of a significant multiplayer offering and mini-games to play with friends – still hadn’t been addressed, and as 2021 wore on the “updates” that were released for the game were incredibly threadbare. Nintendo, in their infinite wisdom, chose to make last year’s holiday-themed updates only valid for one year, meaning much of 2021 was actually spent re-adding holiday events like Easter, Halloween, and Christmas that had already been added in 2020.
Re-adding last year’s holiday events has taken up most of 2021 for New Horizons.
The Animal Crossing: New Horizons Nintendo Direct, which premiered yesterday, had the difficult task of making amends with a fanbase that has become disenchanted with the game over the past year or so. Many of New Horizons’ biggest fans hadn’t held back from criticising the game and Nintendo for the lack of proper updates and the lack of communication in 2021, and while the game remains one of the Switch’s best-selling titles, there has been a sense for some time that a lot of folks were simply burnt out and no longer enjoying the experience.
Games have a natural lifespan, so under normal circumstances I’d say that’s just to be expected! But the Animal Crossing series has always been an outlier in that regard; the games challenge players to play long-term, even just for a few minutes a day, but the repetitiveness of the activities and dialogue, combined with no significant updates or new additions, meant New Horizons’ welcome wore out far more quickly than any previous entry in the series.
Brewster and the coffee shop are returning from past games in the Animal Crossing series.
Right off the bat, yesterday’s Nintendo Direct offered a lot of new content, and it’s coming soon – in just under three weeks’ time. The addition of a coffee shop, new islands to visit by boat, a parade of shops (on a separate island), the return of classic characters, more customisation options, more DIY options (including cooking), and an expansion of other aspects of island life, with new items, more storage space, and the like are all incredibly welcome additions. The new update will give players a lot to sink their teeth into – and will probably convince me to either pick up the island I haven’t touched in months or restart the game for a new experience.
However, I do have a few points of criticism. The first is that these updates feel, for the most part, like features that could and should have been part of the game when it arrived in 2020. New Horizons wasn’t exactly threadbare when it launched, but it was missing a number of important features that were part of older games in the series that hampered its longevity. As I’ve said on more than one occasion, New Horizons is basically a “release now, fix later” title.
Kapp’n is another returning character from past games in the series.
The second concern I have, and perhaps the most significant one, is that I don’t see these updates improving the game’s long-term prospects in any meaningful way. They’re going to be a ton of fun… at first. Players who’ve stuck with New Horizons since launch will be thrilled at finally having new things to do, and new players will discover a game that feels much more feature-rich. But when it comes to long-term playing, things like new island tours by boat or a first-person camera are going to lose their shine pretty quickly – just like terraforming and other features did when the original version of the game launched last year.
These new features paper over the cracks and don’t do anything to address New Horizons’ longstanding issues. There was no mention in the Nintendo Direct broadcast of new villager dialogue, for example, which is something the game desperately needs. Anyone who’s sunk a significant amount of time into New Horizons can tell you that villagers simply don’t have much to say after a while, and what they do say is incredibly repetitive. This also extends to Isabelle’s utterly useless “announcements” at the beginning of each day – she usually has nothing of consequence to say, has only a handful of different lines of dialogue, and ignores many goings-on around the island.
No, Isabelle… it really f**king doesn’t.
New Horizons wants to offer players a home-away-from-home on a fantastical island, and the neighbours players will have and befriend are a vital part of that experience. But because the villagers have so little to say, with some common in-game occurrences literally having only one line of dialogue, it makes playing the game feel incredibly repetitive to the point of becoming off-putting. Add into the mix that there are only eight villager “personality types” yet ten villager slots, and you’re always going to have at least two villagers who have identical dialogue even under the best possible conditions.
This was a prime candidate for an overhaul. Unlike adding new gameplay features, new dialogue requires far less development time and far fewer resources. The game’s modest file size could easily handle double the current amount of dialogue – if not more. While the addition of new features like the coffee shop will give villagers a few new things to say, at the end of the day they’re still going to largely be saying the same things that they always have. Once the novelty of some of these new features has worn off, players will be back where they started.
Failing to improve and expand villager dialogue feels like a wasted opportunity – one which seriously hampers New Horizons’ long-term prospects.
Also missing from the update were multiplayer mini-games. This is a feature I’ve argued needs to be part of New Horizons on several occasions now, and while it’s possible it will come in future as paid DLC, I don’t think that’s good enough. New Horizons currently offers incredibly bad value for players who want to play with friends – Switch Online isn’t free, after all – as there really isn’t anything substantial to do in multiplayer. Nothing in this update will change that, because players will be stuck with the same things to do as before: tour their friend’s island, talk to villagers, and that’s it.
Even some of the features that this update has added feel less than they could’ve been. The coffee shop and parade of shops are in fixed locations – in the museum or on a different island. Yet with a small amount of extra effort, surely Nintendo could’ve given players the option to place new shops and new buildings around their islands? As things sit at the moment, players have one shop, one tailor’s shop, and the museum as buildings that can be placed. Islands are decently-sized, so there was scope to add at least two or three new buildings. Giving players the option to create their own parade of shops would have been fun, and it feels like a missed opportunity that the update has added no new buildings at all.
Couldn’t some of these shops have been optional additions to a player’s island?
I’ve heard some fans argue that they’ve finished designing their island now, so they wouldn’t know where to place a new building. But that’s why something like the coffee shop could have been an option: either included as part of the museum or as a separate building like it was in New Leaf.
The main shop itself has also been ignored by the new update. New Leaf offered players five levels of shop expansion, but New Horizons only has one – and it seems like that’s all there will ever be. The shop doesn’t carry a huge amount of stock: six items at the most (if seasonal items are available). There was scope to expand the shop in the same way as the museum has been expanded, growing it to make it more useful – and to give players something to aim for and work towards.
The shop is staying in its current form.
The aforementioned parade of shops, which will be present on a separate island, could have been part of a shop expansion as well. Gardening items, different wallpapers and rugs, and other such things could have been given their own section within the shop if adding more new buildings to the island was off the table – or as an alternative option.
Kapp’n doesn’t feel like he has a lot to offer based on what we saw in the broadcast. Players have already been able to visit random islands via the airport, and adding a second way to visit a second set of random islands feels like something that will have limited use and, at least based on the way I play the game, is likely not to be used very often. Even if there are multiple new plants, shrubs, and trees, once these have been found and collected I don’t really see what else Kapp’n is going to be useful for – and this really comes back to what I was saying about the update’s longevity.
Players could already visit random islands via the airport… Kapp’n doesn’t seem to offer much that’s different.
Gyroids were never my thing in past Animal Crossing games, but they were always a part of the series so it’s nice to see them return. Brewster, the character who runs the coffee shop, was a big fan of Gyroids, so it makes sense that they’d be part of the update that brought him back. The addition of new items, new furniture, wallpapers, and the like is good, and the ability to hang items from the ceiling is likewise an extra dimension to customisation. None of that will be earth-shattering, but I love a game with customisation options, so adding more ways to customise and to make the island and player’s home feel unique is certainly a good thing.
The addition of town ordinances, which were present in New Leaf, will change things up a little and improve the quality-of-life for some players. Being able to shift the island’s activity to earlier or later in the day should allow some players with tight schedules the ability to play more at a more convenient time, and that’s a positive thing. Again, though, I feel like this should really have been part of the game from the beginning – it was part of New Leaf in 2013, so it can hardly be called a “new” feature.
Ordinances return from New Leaf.
Perhaps the one addition that interested me the most was the DIY expansion, particularly cooking. The addition of new vegetables and new crops seems to have opened up a range of new DIY recipes for food – and this looks like something that has the potential to be a lot of fun. New Horizons does have a number of food items already, but adding new ones and different ones that can be created is certainly something I find interesting.
DIY has been a double-edged sword in New Horizons sometimes, though. Item durability – a feature copied from the likes of Minecraft – is almost never handled well in any game, and it doesn’t work well in New Horizons. Having to constantly replace broken tools rapidly stops being fun – if it was ever fun – and the fact that DIY doesn’t work particularly well or especially intuitively has hampered the experience. For example, being able to craft more than one item at a time – particularly for one-time use items like fish bait – would massively improve the experience, as would the ability to craft tools in one step instead of two. Neither of these quality-of-life improvements has been added to New Horizons.
Being able to cook different dishes seems like a fun feature – and something actually new!
The addition of a first-person photo mode looks like fun, but the kind of gimmicky fun that I might use a few times at the most. New hairstyles might be fun for some people – and being able to represent different types of hair in a game is no bad thing. More K.K. Slider songs might be your thing… but it’s definitely not mine!
Being able to set up ladders at particular cliffs is something I can see being useful, even as the number of available inclines is slightly expanded. Also allowing players to navigate smaller gaps in between furniture is likewise something that will be useful in certain circumstances. I wouldn’t say that either are groundbreaking, but smaller quality-of-life improvements like these were definitely needed.
The ability to permanently set up ladders is a small addition, but a decent one.
So let’s talk about money. Everything we’ve discussed so far will be added for free, and that’s no bad thing. New Horizons did promise free updates when it launched. But this update will be the last free one for New Horizons, and the first paid DLC has already been announced.
Considering that there are still missing features, and that some quality-of-life additions, like new dialogue and improvements to crafting, haven’t been made, I can’t be the only one who feels it’s rather bold of Nintendo to begin demanding $25 for an expansion to the game – especially considering the expansion is based on 3DS title Happy Home Designer, and thus is hardly something we can call “new.”
New Horizons is getting its first paid DLC.
It also means that multiplayer mini-games – if they ever come to New Horizons, and it would be such a shame if they didn’t – will now almost certainly be paid DLC as well. The Happy Home Paradise DLC seems like it could be the first of many, and next year could see at least one or two more paid DLC packs as well – which would greatly increase the cost of playing New Horizons in full.
Happy Home Paradise looks like an updated riff on the Happy Home Designer concept. It does add new things, like partition walls, countertops, and so on, some of which can be brought to a player’s main island home as well. I’m not going to argue that Happy Home Paradise should’ve been free – though it absolutely could have been if Nintendo was a more customer-friendly company – but I’m not sure the timing is right considering that the base game will still be missing key features even after this latest – and final – update.
One of the features present in the DLC pack is the ability to build partition walls.
Version 2.0, which will be the final free update for New Horizons, still doesn’t get it over the line. The game is still going to be missing important features that previous entries in the series had. Some of these features – like multiplayer mini-games – gave the Animal Crossing series much of its long-term value, and without them it’s hard to see New Horizons being a game that will live up to the legacy of its predecessors. Don’t get me wrong, practically all of the additions and updates look like fun… but they look like short-term fun at best.
In addition, the game’s final update will do nothing to address player criticisms and complaints about a number of quality-of-life issues, some of which are pretty major. The lack of expanded dialogue for villagers, the lack of fixes for basic DIY issues, and a number of other points have all been ignored by Nintendo in their rush to blitz through New Horizons’ free updates so they could begin selling paid DLC. As a result, New Horizons in its base form is still not good enough for the kind of game it wants to be – and even the addition of this first paid expansion pack won’t address these concerns.
Adding a coffee shop doesn’t fix what’s fundamentally missing from New Horizons.
There are things to look forward to on the fifth of November, and I’m debating whether to jump back into the game or even start a new file in the run-up to the update going live. However, I’m already predicting that many of the new features added into the game will have a relatively short shelf-life, and while they may very well carry New Horizons into the beginning of 2022, the game’s longer-term prospects are still pretty poor.
I judge New Horizons based on how much I enjoyed its predecessor, New Leaf. I played that game on and off for more than seven years because it just had so much to offer and so much going on to convince me to keep coming back. I got bored of New Horizons within a couple of months, and while two months and 100+ hours is definitely a lot of time when compared to many other games, by Animal Crossing standards that’s nothing. Unfortunately everything I’ve seen from this update, and its paid DLC companion, tells me that New Horizons is going to get a short-term fix that will tide fans over for a little while but ultimately does nothing to address the game’s real longevity.
Maybe I’m the one who’s wrong – maybe New Horizons was never meant to be the kind of long-term project that its predecessors were. Perhaps gaming has just changed too much in the past decade or so such that a long-term experience was never something that most players were interested in. If that’s the case then I’m judging New Horizons unfairly. Maybe it was just never meant to be the long-term experience that I expected.
Animal Crossing: New Horizons is out now for Nintendo Switch. Version 2.0 will launch on the 5th of November 2021 as a free update, and Happy Home Paradise will launch also on the 5th of November 2021 as paid DLC. Animal Crossing: New Horizons 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 spoilers ahead for Star Trek: Lower Decks Seasons 1-2. Spoilers are also present for the following Star Trek productions: Picard Season 1, Discovery Season 2, and The Next Generation.
Where has the time gone?! It seems like just yesterday that we were settling in for the premiere episode of Star Trek: Lower Decks Season 2, and now we’re already waving goodbye to the series as the season comes to an end. With a couple of weeks until Prodigy premieres – at least for folks lucky enough to have Paramount+ – and with Discovery Season 4 still a month away, there’s going to be a gaping hole in my entertainment schedule!
In the days ahead I’d like to take a look back at the season as a whole, so I hope you’ll stay tuned for that here on the website. But for now we’ve got one final episode to get stuck into, so let’s talk about First First Contact!
The episode’s title card.
The episode was surprisingly emotional, presenting the crew with a difficult scientific problem to solve and pushing them to work together, harder than ever before, to save both a stricken starship in jeopardy and an entire planet. It brought back a well-liked character from The Next Generation, gave all four ensigns moments of character development, and had a stunning climax that both mirrored the finale of Season 1 while showing how far the Cerritos and her crew have come. And then, to cap it all off, First First Contact ended on a truly shocking cliff-hanger – one we’ll have to wait until next summer to see resolved!
Sometimes Lower Decks has felt like it’s bitten off more than it could chew, with too many characters and story threads in play such that some or all weren’t all they could have been. But despite First First Contact giving each of its main characters a role to play, as well as bringing in guest stars and recurring characters, it primarily stuck to one main story throughout and thus allowed everyone to participate in that story in a way that felt natural. No character felt under-used, and the story was well-paced.
There were a lot of characters in play in First First Contact.
There were a handful of minor contrivances that we should acknowledge. In order to give all four ensigns a significant role in the story, particularly after three of the four were sidelined last week, the plot of First First Contact did include a little forced drama. There’s nothing wrong with that sometimes, and it isn’t a criticism! But things like Tendi being transferred and Rutherford’s sudden concern about saving backup memories did feel a little contrived. It was done to give everyone a role in the story as well as to give each of the four a strong emotional moment, so I think it’s excusable in that context.
Usually I’d pick on one storyline or sub-plot that I felt was the weakest, but honestly on this occasion every aspect of the episode feels as strong as every other. The drama began during the pre-titles sequence, when Ensign Mariner overheard that Captain Freeman will be offered a transfer to a bigger and better ship – and won’t be able to bring any of her crew or senior staff with her. From there the episode continually upped the stakes, resulting in a tense, exciting, and emotional episode. It was a wild ride from start to finish!
Mariner overheard the news of Captain Freeman’s promotion.
Since we mentioned Captain Freeman, let’s start there. It makes sense that, in light of her achievements particularly with the Pakled conflict but also in other areas, that she’d be a promotion target. She’s been a strong captain across the show’s first two seasons, and I’m sure that Starfleet is always on the lookout for officers like Captain Freeman. We’ve heard on a number of occasions that California-class ships are pretty low down in the Starfleet hierarchy, so transferring a senior officer from a “lowly” post to a more significant post is something I can absolutely imagine the organisation would do – it is, after all, a meritocracy.
What I didn’t like about this transfer storyline was the notion that Starfleet command appears to have essentially written off people like Billups, Shaxs, and especially Freeman’s first officer Commander Ransom. This is one of the aforementioned plot contrivances, as it was necessary for the senior staff to be upset with Captain Freeman to give this aspect of the story some more weight. But purely from an in-universe point of view, I didn’t really like that Starfleet was basically saying that the senior staff of the Cerritos are California-class quality and can never be anything more than that. It kind of undermines the meritocratic nature of the organisation that we were just celebrating!
Apparently Starfleet doesn’t rate California-class officers very highly.
It was interesting to see the senior staff and Captain Freeman at odds with one another, though. That’s something Lower Decks hasn’t really tried before, and it worked well. Both sides are right in their own ways – Captain Freeman wanted to wait for the right moment to discuss the subject, especially with an important mission at hand. But the rest of the senior staff had every right to be upset at being kept out of the loop.
Mariner was, of course, the instigator of this drama. But her arc across the episode didn’t undermine her character progression that we’ve come to see and love over the past two seasons. Her acting out on this occasion wasn’t caused by a desire to be a chaotic troublemaker, but actually came from a place of genuine love. She’s come to enjoy working with her mother, especially since the events of Season 1’s Crisis Point and the unveiling of their family connection in Season 1’s No Small Parts. The idea that she was going to lose her mother after having only recently begun to enjoy their new dynamic was something she found impossible to deal with at first, prompting her to tell the senior staff and cause what she knew would be a fight.
Mariner spilled the beans on purpose.
In some ways, the argument between Mariner and Freeman earlier in the episode – in which Mariner told the captain she’d never want to work with her ever again – did feel regressive. In the moment it seemed as though the progress Mariner had made in her relationship with her mother – which was also reflected in her attitude toward working in Starfleet – was slipping back to its early Season 1 state. But as the story moved along and we came to understand why Mariner was so upset it all made perfect sense and the pieces fell into place.
One of my favourite things about Lower Decks over its first two seasons as a whole has been the way Ensign Mariner’s characterisation has been handled, and First First Contact was the icing on the cake. We got to see firsthand just how much serving with her mother has come to mean to her, and how devastated she was at the thought of losing her. It wasn’t, as she claimed at first, because Captain Freeman would protect her from getting court-martialled! She genuinely came to care about their rebuilt relationship, and that changed her attitude toward at least some of the work she does as an ensign. It’s been a wonderful transformation to see play out, and it needed two full seasons with these moments scattered along the way to properly unfold.
Captain Freeman and Mariner have a heart-to-heart on the bridge.
We also got a moment between Tendi and Mariner that built on their solo adventure in We’ll Always Have Tom Paris earlier in the season. As Mariner was struggling, it was Tendi who snapped at her and finally got her to see sense. I loved her line about friendship, it really knitted together all of the loose ends of Mariner’s season-long character arc. We’ve learned how she’s been avoiding making friendships and pushing people away because she fears losing those friends when they inevitably move on, but as she found with Rutherford, Tendi, and Boimler she doesn’t have to be frightened of that. That conversation prompted her to rush to the bridge and have a heart-to-heart with the captain in what was perhaps the sweetest moment in the entire episode.
Jennifer the Andorian has been a background character this season, and if I were to nitpick Mariner’s storyline in First First Contact I’d say that the Jennifer rivalry wasn’t as well-developed as it could’ve been prior to its resolution at the end of the episode. We’d seen Mariner mention her a couple of times, particularly in the season premiere, Strange Energies. But Mariner’s big rivalry with a secondary character in Season 2 came with Jet in the episode Kayshon, His Eyes Open. There was enough of a Mariner-Jennifer conflict to make the way they resolved things work – and I loved seeing Jennifer come to Mariner’s rescue – but it could have been developed further before they sat down together.
Mariner and Jennifer the Andorian made up in the end.
I wasn’t certain if Mariner’s line about “liking” Jennifer when they talked in the bar meant that she has a crush or some kind of romantic feelings toward her, though Jennifer’s reaction seemed to suggest that. Mariner has previously said that she’s dated males, females, and non-binary people, so I think we can infer that she’s pansexual and would thus not be averse to dating someone like Jennifer. Watch this space, because I think it could be interesting to give Mariner a romantic relationship in future.
Rutherford’s story was perhaps the shortest this week. He spent much of his time with Tendi, racing around the ship after she misunderstood Dr T’Ana and felt she was going to be transferred. The Tendi-Rutherford pairing has always worked well, and the pair revisited some of their earlier haunts, including the Jefferies tube where they spent time together in the episode Envoys back in Season 1.
Tendi and Rutherford back in the Jefferies tube.
His main concern this time came from his missing memories, and his desire to never again forget any part of his friendship with Tendi. It was very sweet that Rutherford would be so cautious about backing up his memories after losing them at the end of Season 1, but as with the only other real mention of this storyline this season, I feel like this story came a bit late in the day. Rutherford’s memory loss could have been more than Lower Decks ultimately made of it, and while this week it did lead to a couple of sweet moments both with Tendi and with Billups, I still feel it could’ve been handled better overall.
The visual gag of the pop-up was funny, though, and gave Rutherford a reason to let Tendi guide him – literally as well as figuratively. We know from episodes like Crisis Point that Rutherford has a great respect for Billups, so it made perfect sense for Billups to be the one he’d turn to for advice. He listened to Billups’ advice too, eventually deleting his backups to free up space in his implant.
Rutherford went to Billups for advice – both technical and emotional!
Rutherford’s cyborg status had never been called into question. Everyone on the crew simply accepted him for who he was, and that appeared to be that! However, First First Contact has set up an interesting mystery in regards to Rutherford’s cybernetics: who were the mysterious figures seen augmenting him, and if he didn’t choose to be augmented voluntarily, why does he have his implant? I have no doubt this will be explored in Season 3, so watch this space!
Lower Decks has never been particularly bothered about borrowing themes and character types from Discovery, preferring instead to focus on The Next Generation era. But in Rutherford we have a character who has at least some similarities to Discovery’s Airiam – a character who really only came into her own shortly before her death in Season 2. Airiam was similarly a cybernetically-augmented human, though her cybernetics were a result of an accident she suffered. Rutherford’s suppressed memories could hint at a similar fate – perhaps he was injured while on some clandestine assignment for Starfleet. Maybe Section 31 are involved! In future I might write up some of my guesses about Rutherford’s pre-augmentation past, so be sure to stay tuned for that.
Who could these mysterious figures be? And what did they do to Rutherford?
Though it went somewhat understated in the episode, Rutherford came up with the idea that ultimately saved the day – for the second season finale in a row! It was his plan to jettison the Cerritos’ outer hull that allowed them to make it through the asteroid field in time to save the USS Archimedes, and in an episode that wasn’t all about Rutherford it was nice that he got one of the most significant story moments. First First Contact had several key moments that mirrored the Season 1 finale, No Small Parts, and this was the first of them.
It never seemed plausible that Tendi was so bad at her job that she’d be kicked off the ship, and as mentioned this storyline did feel a little contrived. But it gave Tendi the opportunity to spend time with Rutherford and to give Mariner the talk that she needed to come to her senses and fix her relationship with Captain Freeman. I think it gets a pass in that regard!
Tendi eavesdropping on Dr T’Ana.
“Overhearing something and misunderstanding it” is a bit of a sitcom cliché, but it was generally handled well in the episode, and the moments where Tendi felt like she had to run and hide from Dr T’Ana were kind of funny. It ultimately led to a cute resolution with the pair hugging it out – and Dr T’Ana purring! I’ve said on a number of occasions that I love how Lower Decks has played up the cat-like features of Dr T’Ana, and this was yet another example of that.
However, as a concept I’m not really sure I follow what this storyline wanted to say. Though medical and science are related departments they’re hardly the same thing, and transferring someone who wants to work in medical to a science position doesn’t necessarily feel like a promotion. To be fair, Tendi has never really settled into a specific role in a specific department on the ship – only Rutherford really feels settled as an engineer; the other three ensigns appear to get a variety of different roles depending on the needs of individual episodes. But having Tendi in sickbay has generally worked very well.
Tendi and Dr T’Ana share a hug at the close of their storyline.
Tendi makes for a great medical officer, both from an in-universe and story point of view. We saw this firsthand this week when her quick thinking, ability to stay calm, and medical training helped her save Boimler’s life. Her kindness is a stark contrast to Dr T’Ana’s grumpy nature when dealing with patients, and she’s always seemed to know a lot about biology and medical science – even creating her own animal, The Dog, in the Season 1 episode Much Ado About Boimler. I just didn’t feel that Tendi was in any way trying to position herself for a transfer to a more scientific role, and as recently as I, Excretus a couple of weeks ago seemed thrilled at the idea of taking on the role of chief medical officer.
I wonder if this is just another contrivance for the sake of this episode, and whether we’ll actually see Tendi assigned to scientific bridge duties beginning in Season 3. It would be no bad thing to give her moments on the bridge, particularly if Mariner and/or Boimler are also present at the helm or navigation positions, so perhaps this should be seen more as an expansion of Tendi’s roles aboard the ship rather than a straight transfer. Hopefully shuffling her out of sickbay – if indeed it does happen – won’t mean we get to spend less time with Dr T’Ana; she’s one of my favourite characters!
Dr T’Ana is undeniably awesome.
Boimler got some sweet moments this week. Making a banner for Captain Freeman – based on the famous “Captain Picard Day” banner that recently reappeared in the premiere episode of Star Trek: Picard – was incredibly cute, and I’m never not impressed with Boimler’s enthusiasm for his ship, his captain, and all things Starfleet.
He also got to save the day, diving down to release the final exterior hull panel while Mariner rushed to the bridge. Mariner, as mentioned, definitely needed this moment with Captain Freeman to resolve their conflict, but I liked that it gave Boimler the chance to play the hero for a change. We’ve seen Boimler step up while under pressure before, particularly in the episode Kayshon, His Eyes Open earlier in the season. But on this occasion his actions saved two starships and a whole planet – so that’s pretty great going!
Boimler saved the day!
The change in Boimler’s characterisation across Lower Decks’ first couple of seasons has been more subtle when compared with what we’ve seen from Mariner, but when we see Boimler being prepared to take on a difficult task like this, it’s hard to see how the Boimler we met at the beginning of Season 1 would’ve had the confidence to do so. His friendships with Tendi, Rutherford, and especially Mariner – as well as his jaunt aboard the Titan – have seen him grow in confidence. He still has his anxieties and neuroses, but he’s become a more confident person since we met him. That arc has likewise been incredibly satisfying, and culminates in moments like this one.
Are the dolphins aboard the Cerritos Earth dolphins, do we think? It was certainly implied that they could be based on their familiar dolphin chittering! If so, it raises a very interesting question: is Earth now home to more than one sentient life-form? We’d seen with the Xindi that multiple sentient races can evolve on a single world, so it isn’t impossible! Dolphins are, from a real-world point of view, very intelligent. So are crows, so maybe Lower Decks could introduce us to a sentient crow one day! Crows have, after all, recently entered their very own stone age. That might sound bonkers, but it’s true.
Two dolphin Starfleet officers.
It was very sweet that First First Contact brought back the character of Sonya Gomez. We first met her in Q Who, back in Season 2 of The Next Generation, and in the years since she’s clearly done very well for herself – rising all the way to the rank of captain. Lycia Naff, who played the character in The Next Generation, made a welcome return to Star Trek to reprise her role.
Captain Gomez got a very sweet, very poetic moment with an ensign on the bridge of the Archimedes that harkened back to her famous clumsy moment with Captain Picard in Q Who. For us as the audience – and perhaps for the actor too – that moment was a cute way to bring things full-circle, as well as showing off just how much Gomez has grown and changed over the course of her career. She’s in charge of an Excelsior-class ship – and the design of one of my favourite ships was beautifully incorporated into Lower Decks’ animated style.
Captain Sonya Gomez of the USS Archimedes!
Unlike a couple of other guest-stars across both seasons of Lower Decks, Captain Gomez’s role felt substantial. She and her ship weren’t on screen the entire time, but the role they played was significant, both as a driving force for the events of the episode but also in its own right as the reappearance of a significant and well-liked character. It was handled well and it was great to see Captain Gomez in action once more.
In a moment of symmetry with the Season 1 finale, this time the USS Cerritos got to be the ship that saved the day! In No Small Parts the Titan, under the command of Captain Riker, came racing to the aid of the Cerritos when the battle against the Pakleds seemed to be going badly. In First First Contact it was the Cerritos that swooped in to save the Archimedes – and a bridge officer aboard Captain Gomez’s ship even used the same line as Boimler in the Season 1 finale: “it’s the Cerritos!” That moment really got me; it was perfectly poetic, and a fantastic way for the story to end.
“It’s the Cerritos!” A poetic moment of symmetry.
First First Contact presented the crews of the Cerritos and Archimedes with a scientific problem, not a military one. It’s easy to think that Star Trek is at its most exciting and action-packed when there are enemies to fight and battles to participate in, but for me the franchise has always been at its best when it’s looking at exploration and scientific puzzles. First First Contact absolutely epitomises the spirit of Star Trek as a show about science, exploration, and the wild, wonderful, and occasionally dangerous galaxy that awaits humanity beyond Earth.
By presenting the crew with a scientific puzzle, one that wasn’t easy to solve, First First Contact showed how amazing and exciting Star Trek can be when there are no Borg or Klingons or Pakleds bearing down on our heroes. The episode was so well-paced that we really got a sense of this race against time to get the ship ready to race through the asteroids and rescue not only the Archimedes but the planet it was threatening to crash into.
The episode gave the crew a science-based problem to overcome.
I was a little concerned, particularly as Commander Ransom did his best to navigate the asteroid field, that there’d be some kind of deus ex machina ending – the Archimedes would have saved itself or another ship (like the Titan) would have beaten the Cerritos to the punch, with the joke being that all of the crew’s hard work was for nothing. As a comedy series first and foremost, that kind of storyline is always a possibility. But having seen Captain Freeman and the whole crew go to so much effort such an ending would have really fallen flat, and I’m glad that, on this occasion at least, Lower Decks allowed the crew a huge win.
Rescuing the Archimedes was a very emotional moment in what was already an emotional story. The crew came together, despite their initial differences, and pulled off a one-of-a-kind rescue mission. We’ve never seen the likes of this in Star Trek before, yet the idea of stripping off a ship’s outer hull when not at warp feels like it fits perfectly with what we know of the way starships work. It was a fantastic story idea, and it came to fruition perfectly in the finished episode.
The Cerritos tractors the Archimedes to safety.
So we come to the final scenes! After expecting to be offered a promotion, Captain Freeman was arrested by Starfleet security, charged with bombing the Pakleds’ homeworld. This was a truly unexpected twist; it had seemed as though wej Duj last week wanted to draw a line under the Pakled conflict storyline. It was, somewhat unfortunately, the second “misunderstanding” scene after Tendi’s conversation with Dr T’Ana, but I guess that couldn’t be helped.
This epilogue was almost certainly added into the episode later, once the team knew that Season 3 was officially confirmed, as it didn’t flow at all from anything else in the story. It’s left Lower Decks on a cliff-hanger – one which we’ll have to wait a long time to see resolved! That’s not new for Star Trek, of course, as many seasons have done something similar in the past. It was definitely a shocking twist, and it was very well-executed. Even as Captain Freeman walked into the room I had no idea what was about to happen.
Captain Freeman was arrested – and we’ll have to wait almost a year to find out what happens next!
Obviously we know Captain Freeman is innocent – and surely she’ll be able to prove that. But we won’t get to see how that happens until Lower Decks returns next year (well, I hope it’ll be next year!) so I guess we’ll have to sit on our hands until then! Did the Pakleds accidentally blow up their own planet? Or did the rogue Klingon commander from wej Duj plant the bomb as a contingency plan to ensure war would break out? There are a few different possibilities – but if Season 2 has been any guide, Lower Decks won’t go down any path that we might expect!
So that was First First Contact – and that was Lower Decks Season 2! There were a couple of episodes that didn’t hit every high note that I’d have wanted, but overall the season as a whole was fantastic. We got some incredibly fun Star Trek hijinks with the crew of the Cerritos, plenty of unexpected twists and turns, the return of several classic characters, and some wonderful moments of characterisation and drama. It’s been an outstanding ten weeks – and I can hardly wait for Season 3.
Stay tuned here on the website, because sometime soon I’ll write up a retrospective look at Season 2. There are also a couple of theories relating to the Pakled bomb and to Rutherford’s background that might get the full write-up treatment in the run-up to Season 3. Although Season 3 is undoubtedly a long way off – ten months or more, at least – if and when we start to get information about the series, casting announcements, or a teaser trailer I’ll also be taking a look at those as well. It’s sad to bid farewell to Lower Decks – but it’s only a couple of weeks now until Prodigy arrives!
Star Trek: Lower Decks Season 2 is available to stream now on Paramount+ in the United States, and on Amazon Prime Video in the UK and around the world. 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 Kena: Bridge of Spirits.
Kena: Bridge of Spirits has been out for three weeks now, and I finally got around to finishing the game the other day. I like to take my time with a game I’m enjoying, so I didn’t blitz through it at lightning speed! I’d been looking forward to Kena: Bridge of Spirits for months, and my first impressions of the game were fantastic. I already knew that I’d found something special in Kena: Bridge of Spirits, but having gone through the full experience I can now say with certainty that this is by far the best game I’ve played in all of 2021.
Kena: Bridge of Spirits is a rare offering: a visually beautiful game taking advantage of the best of modern graphics combined with an older style of gameplay that feels intuitive and uncomplicated. As silly as it may sound, Kena: Bridge of Spirits is unapologetically a video game – it doesn’t pretend to be an interactive movie. It also ignores many of the tropes of modern gaming: no “expansive open world,” no cluttered heads-up display with arrows pointing exactly where to go, no pop-up tips telling you precisely what combination of buttons to press to solve a puzzle. The game plays, in some respects, like a 3D action-platformer from the Nintendo 64 or PlayStation 1 era – and I’m absolutely there for that kind of classic gameplay style!
Promo artwork for Kena: Bridge of Spirits.
There are three main “levels” plus a brief tutorial, and with each stage the titular heroine Kena learns a new power that helps her navigate the game world, solve puzzles, and engage in some occasionally complex platforming. Each of the three sections is dedicated to helping track down relics and memories necessary to help a wayward spirit so that Kena can ultimately make her way to the mountain shrine. The story is mostly contained within cut-scenes that are seamlessly woven into gameplay, with Kena triggering a cut-scene upon beating a major boss or discovering a memory.
At first three levels broken down into a few different parts might not seem like a lot, and Kena: Bridge of Spirits isn’t the world’s longest game by any stretch. My playthrough, in which I completed the game and found as many hidden items and unlockables as reasonably possible, clocked in at 11 hours and 43 minutes. Anywhere from 9-12 hours seems to be a good guide based on online sources. For £30-35 (approx. $40) I felt that the game offered excellent value at that length.
Kena collecting one of the Rot.
Speaking of unlockables and collectibles, Kena: Bridge of Spirits didn’t go overboard in the way some titles do. Collecting the Rot – Kena’s adorable little companions – didn’t only feel like a natural part of gameplay, but having more Rot on your team allowed for more attacks and more powerful attacks which gave Kena an advantage particularly during boss fights. This made looking for hidden Rot feel worthwhile, and not just like typical open-world busywork in the way collect-a-thons in many modern games can.
There were also gems to collect, which were found hidden in chests, barrels, pots, and the like across the map. Gems can be spent on Rot hats, and while these aesthetic elements don’t have a gameplay impact, it was a lot of fun to collect the various hats and give different Rot different looks. By the end of the game, my 80+ Rot had dozens of different styles, including absolutely adorable ones like a dinosaur hat, a baseball cap, and even a cowboy hat. Anyone who loves animals or cute things will have a blast with the Rot and their hats, that’s for sure!
A Rot wearing the dinosaur hat – with examples of other available hats at the hat cart.
The Rot added a lot to gameplay as well. Kena could use the Rot to heal herself in combat, and the limited number of Rot Actions meant that timing became a consideration, particularly during long boss battles. Figuring out when to use the Rot and in what way added a much-needed extra dimension to combat. Otherwise, Kena had a light and heavy melee attack, a light and heavy ranged attack, and eventually a bomb as well. Each of these could be upgraded to deal more damage or to give Kena extra ammunition, and each could also be upgraded to give a Rot-powered attack.
The choice in some combat encounters was often between using a powerful Rot attack or using the Rot to heal, and it wasn’t always an easy decision to make! My personal favourite was the Rot-upgraded ranged attack, known in-game as the Rot Arrow, as this powerful attack was effective against many different enemies.
Kena using an upgraded Rot attack.
Kena was also equipped with a shield, which could also be upgraded, and a dodge/roll ability. By the end of the game she had also learned one final power: dash. In some boss fights, keeping out of range of a powerful boss who could do a huge amount of damage meant hitting the dodge button repeatedly! As the game progressed and Kena encountered a number of different enemy types, combat encounters became more varied. There were flying enemies, ghostly enemies that needed to be made corporeal before any attacks would harm them, and a range of different melee and ranged enemies, and they would appear in different combinations during combat.
If I were to make one criticism of the combat it would be that there were a couple of random difficulty spikes. At a relatively early point in the game I encountered a boss who, even on the easiest difficulty setting, could kill Kena in three hits. After he’d struck once, Kena was sent flying through the air and before she could recover had been hit a second time. This boss fight took a few attempts to complete, and while I admit I’m by no means the world’s best gamer, I felt that this spike in difficulty was noticeable. The boss was so much more difficult to defeat than any enemy before him, yet after beating him the game seemed to return to normal. It was odd – and frustrating!
This early boss fight was particularly difficult for some reason.
Aside from those couple of particularly difficult boss encounters, combat in Kena: Bridge of Spirits was outstanding. The relative simplicity of giving Kena one weapon – her magical staff – but allowing it to be used in three very different ways was interesting and fun. It also kept things uncomplicated, and I never felt like I had “forgotten” about some powerful attack or spell! Some games which offer a huge variety of weapons in a player’s arsenal can be overwhelming, and when the majority of players only use a handful of attacks at the most, there’s something to be said for keeping the options simple.
Despite that, there was still plenty of variety. Kena had light and heavy options for both melee attacks and ranged attacks, as well as a bomb – and then there were the aforementioned Rot-upgraded attacks that dealt more damage. There were enough options that I felt I had a choice of how to take out enemies and bosses, but not so many options that I felt overwhelmed or that combat was too complicated.
Kena using her ranged attack.
Kena’s magical staff and its different abilities also played a major role in traversing the game world. Arrows could be fired at targets that pulled Kena across long distances, and bombs could be used on certain highlighted areas to create new platforms for Kena to jump across. Arrows could also be fired to rotate platforms into the correct alignment, and later in the game Kena could use her dash ability to cross through portals and even jump across gaps too wide for her standard jump or double jump. Combining different powers and abilities led to plenty of variety when it came to exploring the game’s stunningly beautiful world.
There was a lot of platforming in Kena: Bridge of Spirits, and I loved that. When handled well, 3D platforming can be a huge amount of fun and offers incredibly rewarding gameplay, and Kena: Bridge of Spirits absolutely nailed that aspect of gameplay. Puzzles were complicated enough to not be incredibly obvious, yet simple enough that I never once needed to look up a solution online. I was always able to figure out what to do, where to go, and how to solve the platforming puzzles that the game presented based on what I’d learned through gameplay, and that’s a difficult balance for a game to get right!
Kena has to combine her powers and skills to traverse the game world.
Kena: Bridge of Spirits doesn’t hold your hand, though. After introducing you to a new power or attack that Kena can use, the game drops you into a new section of the map where that power can be used to its full effect. But there are no other hints pushing you in the right direction nor telling you how to solve a puzzle. It’s up to the player to use what they’ve learned and figure out how to get from point A to point B to keep the story moving, and I like that the game is bold enough not to offer too much help.
Many modern games across practically every genre hold players hands the whole time. I’ve played racing games that literally have an on-screen arrow the entire time, pointing exactly where to go, telling you when to slow down, speed up, etc. And games like Skyrim started the fad of having on-screen pointers guiding you to your precise destination. I’m a huge believer in accessibility features for disabled gamers, as I’m disabled myself, but even I consider that some of these features go too far for my personal taste. Kena: Bridge of Spirits was delightfully old-fashioned in that regard. It doesn’t drag you along the path it wants you to take, instead setting you down with all of the skills you need to walk the path alone and leaving you to do so.
Hanging from a ledge early in the game.
Fun combat and great platforming wouldn’t have been anywhere near as enjoyable, though, if Kena: Bridge of Spirits didn’t have an interesting and engaging story holding it all together. I was very keen during my playthrough to avoid spoilers, and the game was definitely much more enjoyable for experiencing the highs and lows of Kena’s journey first-hand.
Kena’s quest to reach the mountain shrine is motivated by the loss of her father, and this aspect of the story was quite emotional. Seeing Kena as a young child at one point really hammered home how this quest has been years in the making for her. At the same time, though, Kena was incredibly empathetic to the spirits she met along the way – even those she had to do battle with. Defeating one of the game’s three big bosses didn’t kill them – instead Kena, as a spirit guide, helped them overcome whatever was keeping them trapped in this world and make the transition to the spirit realm. She showed genuine empathy to everyone she encountered, and while she was on a mission of her own, she showed no hesitation when it came to getting side-tracked to help others.
Kena with her younger self in the spirit realm.
At the same time, going off in different directions didn’t feel like Kena was being sent on some disconnected side-mission. Helping Taro, the game’s first spirit, and Adira, the second spirit, were both presented as the next step to reaching the mountain shrine, and Kena was happy to help both of those spirits along with helping herself and moving her quest forward. The story thus flowed smoothly from point to point with nothing feeling unnecessary or like time-wasting fluff.
The third spirit Kena had to help was Toshi, and he was directly in the way of Kena’s progress to the mountain shrine, so once again this felt like a natural progression of the story.
That being said, I think the way the game was structured meant that coming to the aid of three spirits was probably the maximum the story could’ve gotten away with. Adding in any more might well have made them feel like unnecessary hurdles, and the fact that each spirit had three relics to collect before engaging in a boss fight would have risked becoming repetitive had it been repeated many more times. Three spirits was a good number, then, based on the way the game chose to handle each of them.
Kena helped several spirits while on her journey.
As well as learning of Kena’s father, the game had a number of emotional moments. Each of the spirits genuinely wanted to help their families or the people of their village, and letting go of what was anchoring them made all three cut-scenes after the big boss battles feel genuinely emotional. I may have shed a tear on more than one occasion!
Toward the end of the game, having collected many Rot (and many Rot hats) in different places and in different ways, Toshi stole all of the Rot from Kena after the first of two epic climactic battles. Seeing her lose her companions was heart-breaking – and definitely got me riled up for the next phase of the fight! After saving the Rot and defeating Toshi, allowing his spirit to achieve peace, the Rot were transformed back into their true form, a form which resembled a giant panther or cat. As a cat lover myself, this was an incredibly sweet moment; the high point of the game’s final story.
The Rot – restored to their true form.
Kena: Bridge of Spirits does seem to have left things open-ended, though. We didn’t get to see what happened after Kena achieved her goal and meditated at the mountain shrine, with the credits rolling after she settled down to meditate having saved and restored the Rot. Did she find her father, or information about him? Did she find something else that she didn’t know she was seeking?
Perhaps the game is teasing an expansion or sequel in future, and if that’s the case I’m absolutely going to be there! As it is, though, after the emotional loss of the Rot, the big battle to save them, and ultimately letting them go to restore their true form and bring balance back to the forest, for Kena to just plop down and close her eyes risks feeling like a bit of an anticlimactic ending. We saw her reach the goal she’d been working towards for the entire game, but we didn’t get to see what, if anything, that moment meant to her.
Kena made it to the mountain shrine… but what will happen next?
This could certainly be setting up a continuation of Kena’s story, and I’m okay with that. As things sit, her story doesn’t yet feel complete. I’m wondering what the future might hold for her! At the same time, developers Ember Lab did such a fantastic job on what is their debut game that I’d love to see them tackle a different project in future. Kena: Bridge of Spirits has been a huge success, topping the charts here in the UK and elsewhere, so the studio has the world at its feet. Should they simply move on to a sequel right away, or might they want to turn their attention to other projects?
Overall, I had a wonderful time playing Kena: Bridge of Spirits. It’s by far the best game I’ve played all year, and I don’t think it will be surpassed in the next couple of months before 2022 rolls around! It was one of those games where I didn’t want to rush through it too quickly; I wanted to preserve this moment in time and keep enjoying it for as long as I possibly could.
Kena: Bridge of Spirits is a visual masterpiece, a uniquely-styled game pushing modern-day graphics to their limit. It’s also a wonderful return to a style of gameplay that has fallen out of favour in recent years. Every element has clearly been lovingly crafted and honed to near-perfection, and I cannot recommend it highly enough.
Kena: Bridge of Spirits is out now for PlayStation 4, PlayStation 5, and PC. Kena: Bridge of Spirits is the copyright of Ember Lab. Some promotional artwork courtesy of Ember Lab. 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. Spoilers are also present for the following Star Trek productions: Picard Season 1, Lower Decks Season 2, First Contact, and The Next Generation.
While Star Trek: Discovery’s second season was running I wasn’t writing about the show; it wasn’t until November 2019 that I founded this website. Because of that I have a number of theories and ideas kicking around from the first two seasons of Discovery that I haven’t found time to talk about yet! On this occasion we’re going to look into one idea I had during Season 2 that has both in-universe and production-side elements to it – the “Borg origin story.”
I know for a fact that I’m not alone in having speculated that Discovery Season 2 was setting up an origin story for the Borg. Shortly after the season ended a friend of mine from way back was in the area for a visit, and we got talking about precisely this subject – yes, we’re both huge geeks! I’m also well aware that other fans have posited some variant or other of this theory online both during and after the season’s run, so please don’t interpret this article as me claiming to have independently and uniquely come up with this idea!
We’re revisiting Season 2 on this occasion!
Here’s the theory in brief: the Control AI, which was the main adversary during the story of Season 2, was originally intended to be the progenitor of the Borg. Its use of nano-technology, its ability to “assimilate” organic beings, and its murderous quest for true sentience that, if left unchecked, would have wiped out all sentient life in the galaxy are all indicators of this. In addition, the inclusion of time travel and the Red Angel suits in the story could have teed up a situation where Control was able to travel backwards through time and far across the galaxy in order to become the originator of the Borg Collective.
Because of Control’s similarities to the Borg in terms of its use of nanites, its single-mindedness, and its lack of care for the survival of organic individuals, this felt like a very real prospect right up until the final moments of the season finale. I really do wonder whether a Borg origin story was included in the original draft of Season 2, perhaps being modified later on once production had already commenced. What we saw on screen would thus contain the residual elements of that story, but with a different ending written – one which sent Burnham and the USS Discovery into the far future.
Captain Leland being “assimilated” by Control.
It’s this decision which I believe would be responsible for changing the story – if indeed such a change were mandated. Discovery had received criticism in Season 1 for its real or perceived “violations” of Star Trek’s internal canon, and it’s this reaction which surely contributed to sending the ship and crew far into the future. It could be that Season 2 was hastily re-written to include the time travel ending, dropping the Borg origin story in the process.
As a narrative concept, the idea that it was the Federation, through out-of-control technological and AI research, who inadvertently created the biggest threat to themselves and to the wider galaxy would be an incredibly impactful one, and something ripe for exploration in detail. The cyclical nature of such a story, with the Federation creating the Borg, then the Borg one day coming for the Federation, could be absolutely phenomenal if done well, and would highlight the morally questionable actions of senior Federation leaders and Starfleet admirals.
Admiral Patar – one of the senior figures involved in the Control AI project.
It would also be profoundly ironic that the Borg – almost universally acknowledged as the Federation’s biggest adversary – were ultimately a Federation creation. This revelation would have a huge impact on the Federation as a whole – and on our crew of Starfleet heroes when they discovered it – and could form the basis for a new Borg story that would surpass even the likes of The Best of Both Worlds and First Contact in its scope.
Had Discovery gone down this road in Season 2, it may not have fallen to Michael Burnham and the crew to be the ones to learn of the consequences of their battle to defeat Control. Picard Season 1 could have picked up this storyline, with information stored aboard the Artifact (the abandoned Borg Cube) finally revealing the Borg’s origins to the Federation more than a century later. This would have tied the two shows together in a very real and significant way – something I’ve argued on a number of occasions that Star Trek needs to be more adept at doing.
The Artifact in Picard Season 1.
In canon, we don’t know much about the Borg’s early history. The Control AI could have been slotted into the bits and pieces that we do know in a way that didn’t overwrite anything we’ve seen or been told on screen, with every past Borg story being allowed to unfold exactly as we know they did.
In-universe, the Borg originated in the Delta Quadrant “thousands of centuries” before the 24th Century. There was an original Borg race – a race of purely organic beings – but they began using nanotechnology and augmenting themselves, and eventually hooked up every facet of themselves to the Hive Mind. As of the late 15th Century, the Borg had assimilated a number of neighbouring star systems, but weren’t anywhere near as large as they would come to be in the 24th Century. Nothing in the early history of the Borg precludes the involvement of an outside force – the Control AI. It could have been the Control AI’s arrival on the world populated by the Borg’s organic ancestors that led them down a path of assimilation and augmentation.
Borg assimilation in the 24th Century.
The Red Angel suits and time crystals present in Season 2 would have provided Control with a method of travelling backwards through time. And as Dr Gabrielle Burnham found to her cost, the Red Angel suits are imperfect and prone to malfunctioning. Based on these pieces of evidence, it would’ve been possible for Control to have seized a Red Angel suit with the intention of travelling either backwards or forwards in time to defeat Captain Pike and Discovery, only for something to go wrong – emerging on the far side of the galaxy millennia in the past.
We are now firmly in the realm of speculation! But had such a scenario come to pass, Control may have found itself alone in the vicinity of a planet populated by humanoids: the Borg’s organic ancestors. Control may have begun the process of assimilating them, injecting its nanotechnology into more and more individuals and bending them to its will.
Control used nanites to “assimilate” Captain Leland.
Control had a forceful personality, but we don’t know what effect mass assimilations of individuals would have had on it. Would it have retained its own personality in the face of potentially thousands or millions of new “drones” – or would its own personality have begun to change, impacted by the personalities and desires of those it assimilated? Perhaps this is where the Borg’s quest for perfection comes from.
This could also explain why the Borg seemed not to recognise humanity or the Federation upon re-encountering them millennia later: Control had simply forgotten its origins, or whatever remained of Control within the Borg Collective was so small and insignificant that the knowledge of its creators had been lost. As the Borg continued to evolve and assimilated more and more beings, perhaps Control’s personality didn’t survive intact.
Perhaps the Borg had forgotten their origins by the time they encountered the Enterprise-D.
Alternatively, we could have learned that the Borg did retain all of Control’s memories and knowledge – but simply chose not to make the Federation aware of the connection during their encounters. This could be the Borg’s equivalent of “forbidden knowledge,” something kept secret and known only to the Borg Queen – who may be an embodiment of the evolved Control AI.
It would make sense from the Borg’s point of view not to allow Starfleet to find out about the connection to Control – perhaps out of fear that the Federation could use that information to find a weakness in the Borg’s core synthetic programming. It would only be when Starfleet had access to a derelict but intact Borg vessel – like the Artifact from Picard Season 1 – that they’d be able to hack into the Borg’s systems deeply enough to learn the truth.
The Borg Queen could be a new avatar for the evolved Control AI.
So that’s the theory, along with a couple of different ways it could have panned out.
I wouldn’t say I was “100% convinced” that this was going to happen as Season 2 rolled on, but it certainly felt like a distinct possibility. When I later saw the Artifact featured in the trailers for Picard Season 1 I wondered if the reason this story didn’t come to pass was because Picard actually had a Borg origin story of its own in the works!
Had this theory made it to screen I think we could’ve seen one of the most interesting connections between Discovery and the wider Star Trek franchise. Borg stories could be seen through a wholly new lens, and the themes of rogue artificial intelligence that both Discovery and Picard examined in their respective storylines could have been elevated by this “creation wants to destroy its creator” angle. That isn’t something original in science fiction, but it would have been a uniquely “Star Trek” take on the concept.
Borg drones from First Contact.
Whether a Borg origin story was actually present in the original Season 2 pitch or not is something we may never know. However, the team behind Season 2 must have been aware of the similarities between the way Control operated and the way the Borg have always been depicted, and I can’t believe that it was a coincidence. Someone involved in the production of Season 2 must have at least raised the point that the story was going down a very Borg-esque road!
To me it feels like any attempt to tell a story of this nature was superseded by the decision to take Discovery out of the 23rd Century altogether. If there was only room for one time travel ending to the season, the one that was chosen was to send the ship and crew into the far future. Control was left behind in the 23rd Century and seemingly defeated by Captain Pike, so any chance of it having a role in the creation of the Borg now seems to be entirely off the table.
Perhaps all of this was simply misdirection; the writers and producers of the season putting out deliberate red herrings so that fans wouldn’t figure out the ultimate direction of the story! If that’s the case, they definitely got me! Even if that’s what happened, though, as a concept the idea that the Federation accidentally created the Borg is one that could have led to some absolutely fascinating stories. Perhaps we’ll see something like it one day!
Star Trek: Discovery Seasons 1-3 are available to stream now on Paramount+ in the United States and on Netflix in the United Kingdom and internationally. 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: Discovery Seasons 1-3 and the trailers for Season 4. Minor spoilers may also be present for other iterations of the Star Trek franchise.
As many folks had predicted, 2021’s New York Comic-Con saw a brand-new trailer for Star Trek: Discovery’s impending fourth season make its debut! The trailer was certainly jam-packed with action and plenty of teases, and gave us a tantalising glimpse of the “gravitational anomaly” that seems to be at the core of the main storyline. Though there will almost certainly be smaller sub-plots and one-off stories like last season, the trailer mostly focused on Captain Burnham and the crew’s attempts to tackle the unknown anomaly.
First of all, none of the theories that I posited a few months ago about the nature of the gravitational anomaly now seem to be anywhere close to plausible! I had a feeling that this would be the case; that Discovery would once again create something wholly new rather than rely on a phenomenon we’d seen in a past iteration of the franchise.
Discovery is coming back in just over a month!
Captain Burnham was heard in the trailer telling her crew that the anomaly was unlike anything the galaxy had ever seen, and that once they “enter” it, they will be literally going “where no one has gone before.” I appreciated the callback to the line heard over the opening titles of The Original Series and The Next Generation – it’s a line which encapsulates Star Trek’s spirit of exploration with a side of adventure, and to me the use of that phrase represents Discovery staking its claim to be the successor of those exploration-focused shows.
Between what Burnham and Stamets had to say about the newness and unknown nature of the anomaly, we can seemingly rule out any connection to things like the Nexus, a graviton ellipse, and Tyken’s rift – as well as anything else we’ve seen before in Star Trek. That isn’t to say there categorically will not be any connection to other Star Trek stories, but that the anomaly itself will be something altogether new.
A beautiful CGI shot of the anomaly.
As mentioned, we got a couple of glimpses of what seems to be the anomaly itself. The first time we saw it it seemed to resemble a black hole within a black hole within a black hole… a kind of recursive black hole phenomenon. Discovery’s second season showed off a great recreation of a black hole (that was actually a Talosian illusion) and while the anomaly seen at the beginning of the trailer was different, especially in terms of colour, the design is comparable.
The second time we saw the anomaly in the trailer it looked very different, as though a “rip” or “tear” in the fabric of the universe, surrounded by glowing light but appearing as a dark smear. Unlike the black hole-inspired visual effect seen near the beginning of the trailer, this second look at the anomaly didn’t feature the same light-bending effect, nor was anything inside the anomaly visible.
The USS Discovery approaches the anomaly.
Of the two depictions that seem to be of the anomaly – assuming that they are, in fact, both supposed to represent the phenomenon – the first black hole-esque look is, from purely an aesthetic standpoint, my favourite. It was more memorable and different, and the way the anomaly bent light around it seems more in line with its stated gravitational effects. The “dark smear” was fine – but it wasn’t particularly visually exciting, and could have represented any one of dozens of anomalies seen in past iterations of Star Trek.
There were some short sequences that could be taking place on the other side of the anomaly, depending on how we view things. There seemed to be glimpses of characters fighting with swords, a large explosion, a forest that looked a lot like Su’Kal’s holographic world, and a child in a forest that could all be taking place after the USS Discovery enters the anomaly. We’ve seen parallel universes and different dimensions in Star Trek on a number of occasions, and I wonder if this anomaly could be the gateway to a different dimension once again.
Could this be on the “other side?”
But that’s enough story speculation for now! We won’t know more about the gravitational anomaly until the season kicks off in just over a month’s time, so let’s take a look at some of the other imagery from the trailer to see what else we can discover.
Firstly, it looks as though Ni’Var – the new name for Vulcan since the reunification of Romulans and Vulcans – will indeed rejoin the Federation. A brief scene showed the Federation president – a character identified during the Comic-Con panel as a part-Cardassian, part-Bajoran, part-human character named Rillak – presenting the leader of Ni’Var with a folded Federation flag. This was something teased during the epilogue of Season 3, with Saru’s diplomatic initiatives seeming to bear fruit.
Captain Burnham looks on as the Federation President gives a flag to the leader of Ni’Var.
Speaking of Saru, after being unceremoniously shuffled out of the captain’s chair in that same epilogue sequence to make way for Michael Burnham, he was back in uniform in the new trailer. The first trailer only showed us a glimpse of Saru out of uniform, and there was confusion over the position he could have both aboard the ship and within the new story after taking a leave of absence and returning to Kaminar.
Saru’s role still isn’t clear – he seems to retain the rank of captain but hasn’t been restored to the captaincy of Discovery. He was also depicted wearing a different badge on his uniform alongside his combadge – I wonder if this might indicate a diplomatic role of some kind. Regardless, it’s great to see Saru back on the ship, and presumably he’ll be part of the crew. What role he will play in the ship’s command structure as an ex-captain is still not clear, though.
Saru is back in uniform – and is sporting a new badge!
I couldn’t identify every single alien race seen in the trailer, but there were quite a few! At Federation HQ we saw an Orion woman not wearing a Starfleet uniform; she could be a representative of the Emerald Chain – or whatever remains of it. There seemed to be Tellarite crew members aboard Discovery, as at least one was present during an away mission. Also featured prominently at Federation HQ was a Ferengi Starfleet captain.
I liked the Ferengi design; it felt familiar enough to be obvious, while at the same time taking advantage of improvements in prosthetic makeup that have been made since the Ferengi debuted. There was more detail in this Ferengi’s face and ears than we ever saw in the likes of Quark and others. That isn’t to say the older makeup and prosthetics were bad, just that there have been advancements in the thirty-five years since the Ferengi were originally created! After Season 3 teased us with glimpses of Cardassians, Andorians, and Lurians who ultimately played no role in the story, I’m not getting my hopes up that this new Ferengi character will play a major part in the story of the season – but you never know!
The Ferengi captain.
The existence of President Rillak seems to conclusively rule out the idea that the mysterious Kovich is in charge of the Federation. This had been a rumour or theory that some fans seemed to be quite attached to last time, but I was convinced for much of Season 3 that Kovich is in fact the head of Section 31 – or perhaps Starfleet security. We saw Kovich very briefly in the trailer, and previous statements from David Cronenberg – the famed director who plays the character – had already confirmed that he will be back in some capacity in Season 4.
Tilly appears to have been promoted to lieutenant, at least based on the emblem she’s wearing on her collar in the trailer. Whether that will happen off-screen isn’t clear, but it would be kind of neat after her arc in Season 3 to see her rewarded with a promotion. Tilly was originally Burnham’s choice for first officer, but with Saru back perhaps he’ll fill that role? Either way, it seems that Tilly will be returning to the sciences division and not wearing the red uniform of the command division – something that was ham-fistedly digitally edited in the Season 3 finale!
Tilly is back in science division blue.
Dr Gabrielle Burnham and the Qowat Milat are making a return as well, as we saw them involved in a couple of different scenes during the trailer. It wasn’t clear whether the scenes we saw were all taken from the same episode or not, so the Qowat Milat could be in more than one episode. It was great that Discovery found a way to connect with events from Picard Season 1 in this way, and I wonder if we’ll get any other callbacks to the events of Discovery’s sister show. Due to the pandemic and its associated disruptions, Picard Season 2 won’t arrive until after Discovery Season 4 – though the original plan was surely for things to be the other way around!
We got brief looks at Dr Culber, Adira, and Gray. Gray will supposedly be made visible this season after finally being seen by Dr Culber in the Season 3 finale. The short scenes featuring Adira and Gray in the trailer weren’t clear as to Gray’s visibility, and when Adira interacted with Tilly, Gray wasn’t present. But at the Comic-Con panel, Wilson Cruz teased that Gray will indeed become visible and that he may have a connection to the season’s main story in some way!
Adira in away mission gear.
One of the most interesting shots from the teaser showed Michael Burnham pulling back a shroud over a reptilian-looking alien. This alien seems to be dead, but interestingly seemed to be noticeably larger than the humanoids we’re used to seeing in Star Trek. That could be a consequence of how this one scene was framed, but the idea of aliens – perhaps from inside the anomaly – being “more alien” in appearance is an interesting one in theory. I don’t believe we’ve seen this species before, though the dead alien’s reptilian-inspired look has superficial similarities to a few past Star Trek races.
Burnham with the dead alien.
There was a shot on a snowy planet that I was also taken by. I wonder if this might be a return to the Guardian of Forever’s new homeworld – the one seen in the two-part Season 3 episode Terra Firma. That’s just a gut feeling and it could be somewhere else entirely, but it would be interesting if Discovery didn’t just abandon the Guardian of Forever. If the crew are on a quest to understand a completely alien and unknown phenomenon, the Guardian could be a good place to start. Maybe it has encountered the anomaly before, or at least is aware of it and knows something about it?
Is this scene taking place on the Guardian of Forever’s planet?
Book and Grudge were back – thank goodness! David Ajala was such a wonderful addition to the cast, providing the Starfleet crew of Discovery with an outsider’s perspective while serving as a guide of sorts to the 32nd Century. And Grudge is beautiful, of course! Book’s ship also made a return. We caught a glimpse of Book in the Spore Cube – his telepathy allows him to serve as Discovery’s navigator alongside Stamets. This could be an interesting source of conflict; how will Stamets feel about someone else muscling in on his job? But at the same time the ability of Book to navigate the mycelial network opens up the Spore Drive’s potential. With multiple navigators available – perhaps millions of potential navigators if any Kweijian or anyone who’s telepathic can take on the role – the Spore Drive could finally be rolled out to other Starfleet vessels.
Whether that will actually happen in Season 4 or not is still an open question, but I think finding a way for the Spore Drive to be more than just a gimmick to be used occasionally by Discovery is a good direction for the series to take. With the show now set in the far future of the 32nd Century, it wouldn’t tread on anyone’s toes in terms of canon – and it would be a great way for Starfleet to mitigate the dilithium shortage and future-proof their fleet. I might write this one up as a full theory, so watch this space!
I couldn’t resist including Grudge!
The visual effect of the crew lifted out of their seats by the anomaly’s gravitational effects is stunning. We’re not really used to seeing artificial gravity failures in Star Trek. Aside from The Undiscovered Country, I can’t really call to mind a time where the failure of a starship’s artificial gravity was a significant story element. Even when ships are badly battered and at the point of destruction, artificial gravity usually continues to function! If Discovery uses this effect sparingly I think it could be very impactful in Season 4.
We saw several members of the cast – and a number of unidentified characters – involved in hand-to-hand violence. Some of this looked utterly barbaric, not at all the kind of thing we’d expect from Starfleet officers. At one point the Qowat Milat even seemed to be engaging a Starfleet officer. I wonder if this is all connected to the anomaly – perhaps things on the other side are more violent, like they are in the Mirror Universe, for example? Or perhaps the anomaly has different effects on people, driving some to become violent? Either way, there seemed to be a lot of that on show in the trailer, and some sort of explanation is required!
Captain Burnham looks on while Owosekun appears to be involved in a fight. This was just one of many examples of hand-to-hand violence seen in the trailer.
Though present, Admiral Vance didn’t have much to say in the trailer. I’m glad he’s coming back, though, as he was a great character in Season 3 as someone who embodied the values of Starfleet. We saw several scenes set at Federation HQ, which was of course Admiral Vance’s home base in Season 3. HQ seemed to look at least a little busier in the trailer than it had in Season 3; this could be a visual representation of the growth of the Federation as it begins to bring back wayward members and expand its fleet. The inclusion of President Rillak may mean Admiral Vance has less to do; both characters seem to occupy a similar role as superiors to Captain Burnham.
Speaking of Captain Burnham and President Rillak, a scene appeared to show Discovery’s captain receiving a stern telling-off from the Federation president. My suspicion is that this is something that happens early in the season prior to the discovery of the anomaly. That’s definitely just a gut feeling, but something about this conversation seemed to suggest the stakes weren’t quite so high. Perhaps Burnham did something in an early mission to earn the president’s ire, but the grave threat of the anomaly will force them to work together despite their differences of opinion and leadership styles.
President Rillak apparently doesn’t like Captain Burnham.
This sequence, out of everything we saw in the trailer, was my least-favourite. It felt like forced drama for the sake of forced drama, and the use of the word “bravery” when giving an officer a dressing-down was incredibly clumsy dialogue. It was a way to communicate to us as the audience that Burnham is brave and that she’s some kind of maverick who doesn’t always conform or do what authority figures tell her – but it just felt a little too forced. We know Burnham doesn’t always play by the rules having seen the way she operates over three seasons, and having a brand-new character dropped in to reinforce that point may not be the best use of the show’s time. I’ll reserve judgement until I’ve seen the full sequence in context, but in the trailer I didn’t like the way it came across.
So I think that’s all I have to say for now. Stay tuned because there are a couple of nascent theory ideas that I have based on the trailer, so it’s possible they could get the full write-up treatment in the days ahead. Discovery Season 4 is offering another “natural disaster” storyline after the Burn in Season 3, and that may not be to everyone’s taste. However, I confess to being genuinely curious to learn more about this anomaly. What is it? What danger does it really pose? Could it be a weapon rather than a natural occurrence? There are many, many questions running through my mind!
Cleveland Booker in the new trailer.
Whatever the ultimate cause of the anomaly, Season 4 looks like it’s on a good track. The trailer was action-packed and exciting, with ample interpersonal drama and an awful lot to unpack. I’ve tried to hit the main points here, but I’d encourage you to check out what other fans and publications have to say as they break down the trailer, as I’m sure there are points I missed or overlooked.
I’m really looking forward to Discovery Season 4 now, and with barely a month left there’s not long to wait. When the new season arrives I’ll be writing reviews of each episode and probably indulging in a spot of theory-crafting, just as I did during Season 3 last year. I hope you’ll stay tuned for that here on the website!
Star Trek: Discovery Season 4 will debut on Paramount+ in the United States on the 18th of November 2021, and on Netflix in the United Kingdom and elsewhere a day later. 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: Lower Decks Seasons 1-2.
wej Duj – which is Klingon for “three ships” – was an exceptionally funny episode, and certainly one of the highlights of Season 2. What makes it stand out is that much of the humour came not from the main cast, nor even from secondary characters like the senior staff, but from guest-stars who gave us a glimpse at life on the lower decks of both Klingon and Vulcan ships.
Lower Decks promised us right from the beginning that we’d be looking at junior officers who get the worst assignments, so taking that concept and expanding it to show us the same kind of people on other vessels felt incredibly natural. It’s one of those ideas that just makes sense – and leaves you wondering why you didn’t think of it sooner!
The title card – in Klingon!
The episode skipped the usual pre-titles sequence, so after the opening titles rolled we were straight into the action. The title of the episode was displayed in Klingon (or should that be Klingonese?), which was a very neat little touch. As an aside, wej Duj is the first Star Trek episode – out of more than eight hundred – to have a Klingon title!
The setup for the episode was interesting, and gave us a rare glimpse at a starship during a period of downtime. Most episodes naturally focus on adventures of one kind or another, yet when you think about it, at least some interstellar travel is going to be dull, waiting for the ship to arrive at its next destination. We’ve seen glimpses of that in episodes like Voyager’s Season 5 opener Night, but this was its first appearance in Lower Decks. As above, this concept feels like another natural fit for the series – showing us what some of the junior officers get up to while the ship is warping to its next destination.
Dr T’Ana and Tendi enjoying some downtime together.
wej Duj used that premise as an excuse to shuffle the ensigns off-stage, and the story progressed without much significant involvement from Mariner, Rutherford, or Tendi. Boimler got a B-plot of sorts as he tried to buddy up to Commander Ransom. This sub-plot relied on a lot of sitcom-style “cringe” humour as Boimler pretended to be from Hawai’i to ingratiate himself with Ransom and a couple of other officers.
This kind of humour, popularised by shows like Friends, isn’t always to my taste. While Boimler’s story definitely had some funny moments, its reliance on a sitcom cliché premise made it the lesser part of the episode – at least in my opinion. The way it ended was definitely amusing in its irony, though, as it turned out that neither Ransom nor any of the others were in fact from Hawai’i either – all having made up the same lie at different times.
Though it wasn’t bad per se, Boimler’s sub-plot featured a style of humour that I generally don’t enjoy.
The main thrust of the episode focused on two guest-stars: junior Klingon officer Ma’ah, played by Jon Curry, and Vulcan lower decker T’Lyn, played by Gabrielle Ruiz. Pinning the bulk of an episode on two brand-new characters was a risk, but it was one that paid off and worked exceptionally well.
Both characters – and their supporting cast of fellow lower deckers and the senior officers aboard their respective ships – were exceptionally funny in completely different ways. The juxtaposition of two of Star Trek’s best-known races was at the core of what made this comedy work; seeing the aggressive, barbaric Klingons drinking bloodwine and engaging in fights to the death then immediately hopping over to the stoic Vulcans who showed no emotion was key to making the episode as funny as it was.
T’Lyn (left) and Ma’ah were the breakout characters from wej Duj.
wej Duj was also a very well-paced episode. In barely twenty minutes it had to bring together multiple story threads that began in very different ways and different places. It also had to balance three entirely disconnected segments and sets of characters, giving each enough screen time to allow for some development and for story beats to play out naturally. Not only did all of this work, with the pacing of each character’s story feeling just right, but wej Duj also connected the events every character experienced into the Pakled storyline that has been running since the end of Season 1!
I haven’t been afraid to criticise Lower Decks earlier in Season 2 when episodes felt overcrowded. Some potentially interesting storylines just didn’t get quite enough time to be fully-realised, and I stand by those criticisms. wej Duj was already an incredibly ambitious episode, considering everything it had to include, but seen in that light I think the fact that the writers, producers, and editors managed to pull it off is nothing short of remarkable.
There were a lot of different elements packed into a single episode this week, and the way they came together was brilliantly-executed!
It would’ve been easy to overlook one or more of the different stories considering the episode’s runtime and just how many characters and ships were in play. It really is a triumph of writing – and undoubtedly editing as well – that wej Duj worked as fantastically well as it did.
The Klingons were featured prominently in Star Trek Into Darkness as well as the first two seasons of Discovery, where some elements of their redesign proved to be controversial. Lower Decks returned the Klingons firmly to their familiar look – the one present from The Motion Picture right through to Enterprise. And as much as I enjoyed some of the Ancient Egyptian influence present in Discovery’s Klingon redesign, it felt absolutely wonderful to be back with the Klingons in their best-known aesthetic and to spend time aboard one of their ships again.
Commander Togg and other Klingon officers aboard the bridge of their Bird-of-Prey.
The aesthetic of the Klingon Bird-of-Prey on the inside was again very much in line with prior depictions. Everything from the lighting to the design used for Klingon computer monitors could’ve been lifted straight from Deep Space Nine or The Search for Spock – and I loved that the lower deckers were forced to sleep in hammocks that made the ensigns’ hallway look palatial in comparison!
The Vulcan ship was clearly based on the design of ships seen in Enterprise. Though Starfleet is the Federation’s main military and exploratory force, throughout Star Trek the Vulcans have been depicted as maintaining their own fleet of ships alongside Starfleet, so I don’t think it’s in any way a canon problem to have a Vulcan cruiser like this in Lower Decks. The relative power of the Vulcan cruiser compared to the USS Cerritos, which was on full display in the climactic battle, was very reminiscent of the way Vulcan ships would constantly outclass and outmatch the NX-01 in Enterprise – a neat little understated callback to Star Trek’s first prequel.
T’Lyn’s Vulcan cruiser at warp.
With the Klingon commander in league with the Pakleds, T’Lyn and Ma’ah – and later the USS Cerritos – were all drawn to the same place. The Pakleds had detonated a bomb given to them by the Klingon commander in the hope of destabilising peace in the Alpha Quadrant and sparking a war, and while Ma’ah challenged his commander, T’Lyn and the USS Cerritos both detected the residual after-effects of the Pakleds’ weapon detonation.
This moment set up the storylines coming together, and it was based once again on the Pakleds’ stupidity, which was pretty funny. The way Commander Togg reacted to the Pakleds’ detonating the bomb he’d provided was one of the funniest moments in the whole episode! Captain Riker had speculated that someone had been manipulating the Pakleds to become so aggressive, and wej Duj gave us the answer – a rogue Klingon commander.
It turns out that a rogue Klingon commander has been arming the Pakleds and pushing them to attack the Federation.
As Discovery showed in its first couple of seasons, there’s plenty of life in the Klingons as villains. When stories get their warrior-barbarian culture right, the Klingons can feel very threatening indeed. I’d point to the Deep Space Nine Season 5 episode Nor the Battle to the Strong as just one example of that. But having seen the Klingons as allies throughout Deep Space Nine’s Dominion War in particular, and having had sympathetic characters like Worf, B’Elanna Torres, and General Martok, making the Klingon Empire as a whole an enemy once again wouldn’t be my first choice in Star Trek any more.
wej Duj found a clever way around this by giving us a character somewhat inspired by The Undiscovered Country’s General Chang. By making it clear that Togg was acting on his own, without the backing of the Klingon High Council or Chancellor – which should be Martok at this point in time, surely! – the story managed to be interesting and entertaining, but without dragging the Federation and Klingons into open conflict with one another. I think many Trekkies like the Klingons far better when they’re allies, with their aggressive nature turned on mutual enemies, than when they come into direct conflict with Starfleet – and I’m generally in that place too. While the Klingons can and do make entertaining villains, I enjoyed the way they were portrayed in The Next Generation and Deep Space Nine and would be loathe to see them as enemies once again.
The Klingons made a welcome return in a semi-adversarial capacity.
T’Lyn and her Vulcan colleagues also provided the episode with plenty of humour. The absolutely deadpan way that all of the Vulcans spoke to one another was hilarious, and the way they interpreted very politely-worded statements as emotional outbursts or insults was a very funny send-up of Vulcan culture from Lower Decks’ writers.
Though they featured prominently in the images shown off before the episode’s broadcast, wej Duj only contained brief scenes involving Tendi, Mariner, and Rutherford. I’d have liked to have seen a little more of the ensigns and their “bridge buddies” during their down time. Tendi’s rock-climbing outing with Dr T’Ana was a cute reference to The Final Frontier, which saw Kirk, Spock, and Dr McCoy enjoying shore leave at Yosemite national park. Rutherford’s pottery-making class with Shaxs actually contained a very sweet moment between the two, with Rutherford calling Shaxs “Papa Bear” when the latter became angry and upset by Boimler mentioning Bajor.
This moment between Rutherford and Shaxs was surprisingly touching.
Mariner didn’t appear to be enjoying her time with Captain Freeman at first, as the pair engaged in some mother-daughter bonding time on the holodeck and later in the captain’s ready room. But as they parted ways, both admitted that they had a good time together – another very sweet moment, and further evidence of the change in Mariner’s character and attitude that we’ve been tracking since midway through Season 1.
As the crew of the Cerritos scrambled to their posts from their leisure activities, the ship was awash with out-of-uniform officers. It was a pretty funny mix of characters in different outfits, and the sight gag of characters in everything from ball gowns to winter coats worked very well. It also showed that the crew are capable, despite serving on a “lowly” ship. These are still professional Starfleet officers, after all!
The crew of the USS Cerritos dropped what they were doing to rush to their posts!
Two questions remain now that wej Duj is over. Firstly: is the Pakled threat now over? Their reliance on Klingon weaponry has now been exposed, and with Commander Togg dead there isn’t anyone left to manipulate the Pakleds and push them closer to all-out war, so perhaps the threat is now largely at an end. I feel that the Pakleds have been very funny in Lower Decks as adversaries, but the way they’ve been presented has left them feeling like a one-trick – or one-joke – pony. Perhaps the “Pakleds are really dumb” joke has run its course, even though there was plenty of humour derived from that premise this week. Better to end it before it outstays its welcome, though!
Secondly, the end of the episode saw T’Lyn dismissed by her Vulcan commander and forcibly reassigned aboard a Starfleet vessel. Could she be making her way to the USS Cerritos, perhaps? T’Lyn provided ample humour in her own incredibly Vulcan way in wej Duj, and while there probably isn’t room for a fifth lower decker as a major character, bringing her in as a recurring character or in a different department could be an interesting way for the series to go as Season 3 beckons. It’s probably not going to happen… but you never know!
T’Lyn has been reassigned – could we see her aboard the Cerritos one day?
The worst thing about wej Duj is that now it’s over that means there’s only one episode left in Lower Decks Season 2! The ten-episode seasons that many modern television shows use are a double-edged sword in some ways. We get more shows, and the episodes that are made generally get a higher budget as a result. But it does mean that seasons seem to race by very quickly! I’m sure that Lower Decks has a suitably explosive finale planned for the end of the season, though.
wej Duj was a completely different kind of episode for Lower Decks. It saw guest-stars take centre-stage for the first time, and the episode was largely carried not by anyone aboard the USS Cerritos but by a pair of Klingons and some stoic, bickering Vulcans. Seeing the life of lower deckers on a couple of different ships was an absolutely outstanding premise, and wej Duj pulled it off with aplomb. The complicated story was expertly weaved together as it reached its climax, and appears to have exposed and perhaps resolved the lingering Pakled threat.
I had a lot of fun with wej Duj, and it will go down as one of the highlights of Season 2 without a doubt. It was funny almost from the first moment, with suitable moments of tension as the complex four-starship battle unfolded. It’s set a high bar for next week’s season finale!
Star Trek: Lower Decks Season 2 is available to stream now on Paramount+ in the United States, and on Amazon Prime Video in the UK and around the world. 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 Lego Star Wars Terrifying Tales. Spoilers are also present for other iterations of the Star Wars franchise, including the following films and shows: The Mandalorian Season 2, Solo: A Star Wars Story, and The Rise of Skywalker.
It’s Spooktober – the spookiest month of the year! To celebrate Halloween at the end of the month, Disney and Lucasfilm released Lego Star Wars Terrifying Tales on Disney+, a Star Wars-themed kid-friendly Halloween special. Last year’s The Lego Star Wars Holiday Special – which I didn’t get around to reviewing in time for Christmas – was a ton of fun, so I had high hopes going into Terrifying Tales. Stay tuned for a review of The Lego Star Wars Holiday Special in late November or December, by the way, as I’m adamant that I’ll finally review it this year!
Terrifying Tales was incredibly funny, at least equalling last year’s Lego Star Wars offering. It was the kind of silly, irreverent style of humour that Lego Star Wars is known for, and also drew on a number of different classic horror tropes. I had a wonderful time with the forty-five minute special, and if I had one criticism it would be that I wish we got these Lego Star Wars special episodes more often!
Poe Dameron and BB-8 with new character Dean.
I’m not the world’s biggest fan of horror. Some horror stories can be a mental health trigger for me, so I tend to avoid the genre as a whole unless I’m really sure that I’m in the right frame of mind. But Terrifying Tales was exactly the kind of child-friendly light horror that appeals to me. The animated special made use of a horror-themed aesthetic and horror-based stories, and played up some familiar tropes, but it did so without being frightening. If you’re concerned about younger kids or anyone of an especially sensitive disposition, I didn’t see anything in Terrifying Tales that I feel would be particularly scary or upsetting.
Lego Star Wars has been something I’ve adored since the release of the first video games in the mid/late 2000s; 2007’s Lego Star Wars The Complete Saga is undoubtedly one of the best video games I played during the Xbox 360 era. I’ve also been eagerly awaiting the newest Lego Star Wars video game which is due for release in the spring. Watch this space again, because I hope to review the game when it’s released!
I’m already looking forward to the next Lego Star Wars project!
Last year’s Lego Star Wars Holiday Special managed to get a great balance of prequel era, original era, and sequel era references and stories, and I was incredibly pleased to see Terrifying Tales managed to do the same. At first I was worried that the special was going to lean very heavily on the sequels, with Poe Dameron as its primary character. However, while the frame narrative focused on Poe, there were plenty of references and callbacks even then to past iterations of Star Wars. Overall, Terrifying Tales managed to get the right mix of characters and storylines from the cinematic franchise’s three main eras.
The frame narrative was typical Lego Star Wars silliness, with a Hutt having taken over Darth Vader’s abandoned Mustafar castle. Planning to turn the Sith fortress into a Las Vegas-style hotel, the setting was a great mix of creepy and silly – there was more than enough light-heartedness in the modifications made to the intimidating castle to tone it down and take the edge off the spookiness. At the same time, the castle was a great setting. It had a fairly typical “haunted castle” vibe, complete with darkened hallways and imposing architecture. Even in the lobby, which was brimming with Vegas-inspired (or perhaps Disneyland-inspired) kitsch and souvenir shops, there was still a creepy background note, as though the place wasn’t entirely safe.
Darth Vader’s castle – now with gift shop!
As the characters ventured further into Vader’s castle, however, the setting took on a different feel. It became less of a haunted castle and more akin to an ancient temple – or a pyramid from a classic mummy film. Deep within the bowels of Vader’s abandoned fortress, hidden rooms with unclaimed – yet cursed – treasures and cleverly-operated switches and traps awaited Poe, BB-8, and the rest of the cast. The castle thus served a dual purpose, and to cram both settings into one locale in a way that felt natural and that didn’t feel rushed shows some pretty great writing.
The only thing that the frame narrative perhaps lacked were more recognisable characters. I’ve argued on a number of occasions that the Star Wars franchise is overly-reliant on characters from its past and that I wanted to see more original creations – but Terrifying Tales isn’t really where I expected to meet a whole bunch of newbies! To see Poe without Rey or Finn was just odd, and as much fun as characters like Vaneé and Graballa the Hutt were, the frame narrative could’ve found a way to include more familiar characters. Lego Star Wars is the one place where bringing back classic characters makes sense – and it’s also where logic and internal consistency matter far less, so there’s plenty of ways to do so! It wasn’t a fatal flaw by any means, and I enjoyed Poe’s mentoring of young Dean in particular. But it was certainly noteworthy that this part of the story really only had Poe and BB-8 in terms of familiar faces.
Poe was the main character in Terrifying Tales.
Graballa the Hutt gave me almost a Ferengi vibe with his unchecked capitalistic greed, and though we didn’t get much time for any of these characters to be truly fleshed-out, there was enough of a moral shadiness to him that left me in no doubt the kind of character this was. Graballa’s the kind of money-driven dodgy boss who’ll cut any corner to save a buck and would’ve sold out Poe and Dean and everyone else for his own safety. He made a fun addition to the group as comic relief, but at the same time he was a constant cause for concern – he’d trade everyone’s lives for a shot at his own survival, and in horror stories those kinds of characters can cause a lot of trouble!
Vaneé is a character who first appeared in Rogue One, and whose role was expanded upon in the novelisation of the film. He’s also made appearances in a number of Star Wars comics – none of which I’m familiar with. For all intents and purposes, though, the character we met in Terrifying Tales was a blank slate upon which the animated special could craft a suitably over-the-top villain!
This character from Rogue One, seen bowing to Darth Vader and informing him of Krennic’s arrival, is Vaneé.
Vaneé definitely had a creepiness to him during the story. He set up the three vignettes in a suitably spooky manner, and the voice performance from Tony Hale was an exquisite parody of these kinds of characters from classic horror films and shows like The Twilight Zone. The downtrodden, overlooked butler or apprentice with an evil streak is an archetype of the genre, and Vaneé slotted into that role perfectly in Terrifying Tales.
At the climax of the story, after we’d been treated to the three vignettes, Vaneé made his grab for power via a Sith artefact that looked an awful lot like the wayfinder from The Rise of Skywalker. From that moment on he was no longer a creepy character but a completely over-the-top pantomime villain – and I loved that transformation! In a story like Terrifying Tales, with all of the silliness and light-heartedness of the Lego Star Wars brand, a villain who goes completely hell-for-leather into wanting to rule the galaxy was pitch-perfect.
The villainous Vaneé!
But we’re racing ahead of ourselves! Before we get to Vaneé’s endgame and thus the end of Terrifying Tales we first have to look at… well, the titular terrifying tales themselves!
The first of the three was titled The Lost Boy, and focused on Ben Solo and the Knights of Ren some time prior to The Force Awakens. And it was surprisingly fun! The Knights of Ren were presented as basically a motorcycle gang, wreaking havoc on a village or community somewhere in the vicinity of Luke’s new Jedi Temple. The idea that the Knights of Ren already existed before Ben Solo became Kylo Ren is actually an interesting one, and the cameo from Christian Slater as the leader of the gang was neat as well.
The Lost Boy lasted six minutes, yet managed to contain more backstory for Kylo Ren than the entire sequel trilogy! And no, this isn’t going to turn into another rant about The Rise of Skywalker, but I really felt that the way we saw Ben Solo presented in this short story was far better and more sympathetic than we ever saw in the live-action films. We saw his bad attitude as a student, his arrogance and desire to learn the Force more quickly, and these things informed his fall as the story ran on. Feeling constrained and restricted by his uncle, he was tempted by the Knights of Ren and their charismatic leader, and that set him on a dark path.
The Lost Boy gave us Kylo Ren’s backstory that was missing from the sequel trilogy!
Sadly that isn’t canon! But it was surprisingly cathartic, especially after the way The Rise of Skywalker ended, to get some kind of origin story for Ben Solo that we could see for ourselves and not hear second-hand from other characters.
The dream sequence during this short story was fantastic. It was incredibly well-animated, and had a very trippy presentation that really did feel like we were following Ben Solo into a nightmare. The way Ben was haunted by a face seeming to come out of the ceiling, then was transported into a creepy dream-world was incredibly well-done, and by far the highlight of this part of the story. As the leader of the Knights of Ren appeared to Ben in his dreams I got a Nightmare on Elm Street vibe – as if something deadly was about to happen.
The leader of the Knights of Ren.
Though this was an “alternative” take on Kylo Ren’s creation and Ben Solo’s fall, I really liked it. There were some great moments of humour, particularly Ben commenting on Luke training for “like twenty minutes” on Dagobah – a reference to The Empire Strikes Back and how Jedi training seems to progress very differently for Luke compared to other characters! But it was also a story of teen angst, rebellion, and the fall of a character to the Dark Side. Because we didn’t get to see Ben’s fall in canon, I found it particularly interesting.
The second vignette brought us a battle between General Grievous and Darth Maul. Terrifying Tales called out how patently ridiculous it was for Darth Maul to have been revived – finally! The Star Wars franchise apparently loves to bring back characters who were clearly and unequivocally dead: Palpatine in The Rise of Skywalker, Boba Fett in The Mandalorian, and of course Darth Maul in The Clone Wars television series and Solo. But the fact that such “back from the dead” moments are ridiculous needed to be called out, and it was done so here in incredibly fun fashion!
Darth Maul’s return from being dead was always ridiculous… and Terrifying Tales pointed that out!
Maybe you’ve always wondered who would win in a fight between Grievous and Maul. I hadn’t, but their duel was still action-packed and fun to watch. This was perhaps the least “terrifying” of the three stories, by which I mean it had the least focus on any horror trope or element. The cursed lightsaber was an interesting macguffin, but I didn’t really feel that it had much of an impact on either mechanical monstrosity as they fought over it. If anything, it had a similar effect to the Ring in The Lord of the Rings, giving both characters a Gollum-like craving.
The real standout star of The Duelling Monstrosities, though, was Palpatine. This version of Palpatine as a nonchalant, almost casual manager of his Empire is never not funny! If you’re familiar with the way Palpatine was parodied in the likes of Robot Chicken and the Family Guy Star Wars specials, this depiction is comparable. If not, go and watch the Robot Chicken Star Wars specials at the very least, because they’re hilarious!
Palpatine was hilarious in this vignette.
Palpatine carried this segment and provided much of its comedy. He was hilarious as he pitted Maul and Grievous against one another – accidentally, of course! And then betrayed the victor to claim his prize of the broken cursed lightsaber. We never did find out why he wanted it, but it didn’t matter!
The third vignette was inspired by the 1902 short story The Monkey’s Paw, and there were elements of the 1960 Twilight Zone episode Man in the Bottle too – itself a loose adaptation of that short story. It was by far the creepiest short story in terms of its setup and premise, and Vaneé gave his best Twilight Zone-inspired speech to tee up the tale.
The Twilight Zone-inspired title card for The Wookie’s Paw.
Luke Skywalker and Darth Vader were the stars this time around, with Luke wishing upon a Wookie’s paw to grant wishes for himself. In this alternate version of A New Hope, Luke becomes an Imperial pilot and Darth Vader’s Dark Side protégé. If you’ve ever wondered what might’ve happened had Luke been trained by Vader, The Wookie’s Paw gives us a glimpse into that alternate reality!
In true Monkey’s Paw fashion, though, everything is not what it seems. Luke’s wishes come with a price – and after using the cursed Wookie’s paw to rise through the ranks and become a pilot and Sith apprentice, Luke goes too far. By wishing for fame he actually gets notoriety, accidentally blowing up the Death Star while trying to defend it from a Rebel attack. It was actually pretty funny to see him make such a catastrophic mistake!
Luke Skywalker and Darth Vader.
The interplay between Luke Skywalker and Darth Vader was surprisingly cute in The Wookie’s Paw. Though both remained blissfully unaware of their familial connection, Vader took on a similar mentor/fatherly role to Luke as Obi-Wan had in A New Hope, and seeing Luke go through a Dark Side version of some classic training scenes – from the training droid to carrying Vader on his back – was both sweet and funny at the same time.
If you’ll forgive a short detour, what I liked about this story was that the cursed Wookie’s paw didn’t actually change the outcome of A New Hope. Princess Leia stepped up to lead the assault on the Death Star in Luke’s absence, aided by Obi-Wan Kenobi, who survived in this alternate timeline. Luke still fired the torpedoes that destroyed the battlestation, even if he didn’t mean to. The message, aside from “be careful what you wish for,” is one of fate and destiny. Even if Luke Skywalker were removed from the equation – or fighting for the other side – the Rebellion still prevailed.
Be careful what you wish for, Luke!
So we come to the finale! Once the three vignettes were over and Poe had been led deep into the heart of Darth Vader’s fortress, Vaneé revealed his ultimate plan. Using Dean to open the Sith holocron, he used it to seize the power of the Dark Side. Cloaking himself in armour he resembled a Sith monster, and he used his newfound power to turn an army of zombified battle droids on Poe, Dean, and Graballa.
This was perhaps the most intimidating battle droids have ever felt in Star Wars! From their first appearance in The Phantom Menace all the way through the prequels battle droids were presented as cheap cannon fodder and even comic relief to be laughed at. Turning them into zombies with glowing red eyes, and pitting a small band of heroes against them and their master, was an interesting and surprisingly fun turn. One of the battle droids even got a moment inspired by classic film The Shining, which was absolutely hilarious!
Zombified battle droids!
After a conversation between Poe and the charming Dean about how fear is natural and something everyone experiences, the duo were able to save the day and defeat Vaneé. There was a neat battle between Poe and Vaneé that showed off Lego versions of the AT-ST and AT-AT walkers, before Vaneé was finally thrown into Mustafar’s lava just like his master before him! It was a tense yet fun battle, and giving Dean the opportunity to save the day was perfectly in line with the kind of story that Terrifying Tales aimed to be.
I had fun with Terrifying Tales. It was a cute Lego Star Wars parody that delivered everything I wanted and expected, and even managed to throw in a few neat surprises and things I didn’t even know I needed to see! The animation work was fantastic, a perfect blend between computer-animated Star Wars locales and a distinctive Lego aesthetic for the characters and vehicles. A project like this could’ve come across as an extra-long toy commercial, but I didn’t get that sense at all. It was a fun Star Wars-themed Halloween romp.
Terrifying Tales was a great way to kick off the spookiest season of the year for me! There’s only a little over three weeks left until Halloween, and I have a few more spooky ideas up my sleeve before the month is over, so I hope you’ll come back for some of those! Happy Spooktober!
Lego Star Wars Terrifying Tales is available to stream now on Disney+. The Star Wars franchise – including Lego Star Wars Terrifying Tales and all other properties mentioned 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.
Spoiler Warning: There are spoilers ahead for Star Trek: Lower Decks Seasons 1-2, particularly the episode Where Pleasant Fountains Lie.
This article deals with the subjects of sex and sexuality and may be uncomfortable for some readers.
Growing up asexual is difficult. We live in a world that seems to revolve around sex and sexuality much of the time, with an awful lot of music, art, and entertainment dedicated to relationships and to sex. Graphic depictions of sex on screen may be a relatively recent phenomenon, but even in the 1980s and 1990s sex was a frequent subject on television, in cinema, in music, and in practically every other form of media.
Even the arrival on the scene of more lesbian, gay, bisexual, and trans characters in media didn’t bring all that much respite. Who people were having sex with changed, but the fact that they were having sex – and spent much of their time pursuing it in one form or another – had not. The growth in LGBT+ representation in media has been fantastic (though it is still far from perfect) but speaking for myself as an asexual person, it didn’t always succeed at resonating with me. I still felt alone, that my perspective wasn’t being represented.
The asexuality flag or asexual pride flag.
In the couple of “sex education” lessons that I was given at school, there was no mention of the LGBT+ community, let alone asexuality. Sex was something that “everyone” had and wanted to have, and between the depictions and talk of sex in all forms of art and media through to peer pressure from my adolescent peer group, it was inescapable. The only people who might be celibate were monks, nuns, Catholic priests, and losers who couldn’t find a date. That was the way sex and sexuality appeared at the time I was discovering my own.
In the time and place where I was growing up, away from the more liberal and cosmopolitan cities, even being homosexual was considered something abhorrent, let alone being trans, non-binary, or asexual. People didn’t understand what any of those terms meant because they’d never been exposed to it, and even being suspected of being a “poof” or a “bum boy” was enough to send the bullies into a frenzy.
The new “progress” LGBT+ pride flag.
The process of “normalising” – and gosh do I hate that term – asexuality can only begin when asexuality is visible. There may be a handful of asexual activists both within and outside of the broader LGBT+ movement, but generally speaking the level of visibility remains low. Without that visibility, understanding and acceptance can’t follow. The same is true of any minority group – including transgender and non-binary.
It’s for this reason that I get so irritated when I hear people talking about “too many” gay characters on television, or how “in-your-face” LGBT+ representation feels. It’s like that specifically because these groups have been so underrepresented for such a long time, and by making LGBT+ depictions more overt and obvious, it raises awareness and draws attention to the LGBT+ movement and the quest for acceptance within society as a whole.
Greater representation of LGBT+ people is still needed.
Since I went public with my asexuality, I’ve started displaying the asexual pride flag right here on the website. You can see it in the upper-right corner both on PC and mobile devices. I do that deliberately with the express intention of raising awareness and pointing out that asexual people exist in all areas of life. My chosen subjects here on the website are entertainment – Star Trek, video games, sci-fi and fantasy, among others. But there are asexual people in all walks of life and with as broad a range of interests as everyone else.
Being open about my asexuality was a choice that I made in part because of the lack of representation and lack of awareness many folks have of asexuals and asexuality. Even by offering my singular perspective on the subject in a small way in my little corner of the internet, I feel like I’m doing something to advocate for greater awareness and greater visibility, because without those things I fear that asexuality will never be understood. And without understanding it’s very hard to see a pathway to broader acceptance of asexuality in society.
Title card for Where Pleasant Fountains Lie.
So we turn to Star Trek. As an adolescent dealing with some of these issues surrounding my sexuality, the Star Trek franchise – and other sci-fi and fantasy worlds – could offer an escape. Science fiction and fantasy tend not to be as heavily reliant on themes of sex as, say, drama or even comedies can be, and I think that may have been a factor in my enjoyment of Star Trek: The Next Generation during its original run.
Despite that, the Star Trek franchise is hardly nonsexual. Characters like Captain Kirk and Commander Riker are well-known for their many relationships, and episodes like The Naked Time and Amok Time, while never showing as much overt sexuality as some more modern shows, do reference the subject. Even characters who have proven popular in the asexual community – like Spock and Data – had sexual relationships. While the Star Trek franchise has been at the forefront of many battles for representation – famously showing the first interracial kiss and with episodes like Rejoined promoting LGBT+ issues – asexuality itself had never been overtly referenced in Star Trek.
Characters like Data have been talked about in an asexual context before.
Though the depiction of Lower Decks’ chief engineer Andy Billups wasn’t explicitly about asexuality, his story in Where Pleasant Fountains Lie presented the first significant analogy for asexuality in the Star Trek franchise – and one of the first ever on television, certainly the first that I’ve ever seen. In typical Star Trek fashion, the episode looked at the subject through a science fiction lens, with Billups’ unwillingness to have sex being tied to the medieval-spacefaring culture from which he came.
Star Trek has often done this. Rather than explicitly referencing a contemporary issue, writers will devise an in-universe comparison. The Doomsday Machine featured a planet-killing superweapon in an analogy about nuclear proliferation. In The Hands Of The Prophets told a story about Bajoran religion clashing with secular teaching in a story that was clearly about the creationism/evolution debate but that made no explicit references. Likewise we can say that Where Pleasant Fountains Lie is a story about asexuality – but one seen through a Star Trek filter.
The episode told a story about asexuality through a typical Star Trek lens.
As an asexual person watching the episode, I was floored. For the first time, a character in Star Trek shared my sexuality and feelings about sex. More than that, as the Hysperians’ plot to trick Andy Billups into having sex reached its endgame, the poor man looked so incredibly uncomfortable and ill at ease with what he was about to do. I’ve been there. I’ve been Andy Billups in that moment, and to see that portrayal was incredibly cathartic.
When I was fifteen I lost my virginity, succumbing to the pressure from my peer group and having talked myself into it. I thought that by doing so I could convince others – and myself – that I was “normal,” just like everyone else. Never having heard the term “asexual,” nor understanding that the way I felt about sex and genitalia was valid, I convinced myself that I must be the one who was wrong, that I was broken and that my sexuality simply did not exist as I now understand it. In that moment I felt a great deal of trepidation. This wasn’t simply the anxiety of one’s “first time,” but I was forcing myself to do something that I fundamentally did not want to do; something that disgusted and repulsed me.
I related to Billups so much during this sequence.
If you’re heterosexual, I guess a reasonable comparison would be having sex with a same-sex partner. Even if you could talk yourself into it, it wouldn’t feel right. And vice versa if you’re homosexual; having sex with an opposite-sex partner would feel fundamentally wrong. That’s the expression that I saw stamped on Andy Billups’ face in Where Pleasant Fountains Lie, and if I had looked in the mirror on that day in my mid-teens – or on any of the other occasions on which I talked myself into having sex with partners both male and female – I would have seen the exact same thing.
I believe that this is the power of representation. To truly see myself reflected in a fictional character has been an entirely new experience for me, and no doubt for other asexual folks as well. Lower Decks may be a comedy series, but this storyline has become one of the most powerful that I’ve seen in all of Star Trek. It was the first time I ever saw my sexuality represented on screen, and for as long as I live I will be able to go back to that moment and point it out to other people. There is finally an understandable, sympathetic metaphor for asexuality on screen.
Chief engineer Andy Billups: asexual icon!
As I stated in my review of Where Pleasant Fountains Lie, the depiction of Billups wasn’t perfect. There was a jokiness and a light-heartedness to elements of the story that clashed with the heavier themes that were present. But in spite of that, Billups’ story resonated with me. It’s an incredibly powerful moment to see any kind of asexual representation, and although there were jokes at Billups’ expense in the episode, he came across incredibly sympathetically. He even had his entire team cheering for him and chanting his name at the end – celebrating how he remained true to himself and didn’t have sex.
No asexual person should ever feel that they’re obligated to have sex. Sex education classes need to include asexuality alongside the rest of the LGBT+ spectrum so that asexual kids and teenagers can understand that the way they are is normal and valid. But education is only one thing that needs to change. Representation in all forms of media is exceptionally important too, and even a single depiction of a secondary character in one episode is already the best and most powerful asexual story that there has been in a long time – possibly ever. As more people become aware of asexuality and understand its place alongside heterosexuality, bisexuality, homosexuality, and other sexual orientations, the stigma or prejudice against asexuals and asexuality that exists in society will – in time – decrease.
Whether intentional or not, Lower Decks has joined the conversation and brought asexuality to mainstream attention in a way that I’d never seen before. It’s now possible for me to point to Where Pleasant Fountains Lie to show anyone who’s interested to learn more about asexuality and to see it represented on screen. That opportunity didn’t exist before, and I’m incredibly grateful to Lower Decks for this episode, this character, and this powerful story.
Star Trek: Lower Decks Season 2 is available to stream now on Paramount+ in the United States, and on Amazon Prime Video in the UK and around the world. 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 Game of Thrones Seasons 1-8 and the teaser trailer for House of the Dragon.
Practically everyone I’ve spoken to, from hardcore fans to casual viewers, felt that Game of Thrones ended in a way that was rushed and disappointing. Individual reasons for disappointment may vary, but the broad consensus is that Game of Thrones Season 8 – and to a degree parts of Seasons 6 and 7 too – didn’t provide fans with a satisfying ending to a well-established, decade-long story. Now that we’ve seen the first teaser for House of the Dragon, and gotten a release window of 2022, the question I want to ask is simple: can the new series successfully bring back fans who were disappointed with the way that Game of Thrones ended?
I haven’t gone back to re-watch Game of Thrones since it went off the air in mid-2019, and I’m not alone. As I wrote last year, at the height of the pandemic when folks were stuck at home looking for films and shows to binge-watch, Game of Thrones didn’t even enter the conversation. The way the ending landed for fans was so bad that it made going back and starting over an unappealing prospect. Despite the first few seasons being some of the best serialised television ever brought to screen, even those fantastic scenes and episodes are now tainted for many fans with the knowledge that the story they set up went off the rails.
The way Game of Thrones Season 8 ended has left many fans with a bitter aftertaste.
This article isn’t a re-hash of my Game of Thrones Season 8 arguments. If you want to get my full thoughts on what happened with Game of Thrones, I have a two-part essay which you can find by clicking or tapping here. Instead I want to use Game of Thrones Season 8 as a starting point for the conversation about House of the Dragon, because whatever HBO and George R R Martin might want people to focus on as the new show’s marketing campaign kicks off, there can be no denying that it exists in its predecessor’s shadow – for better or for worse.
One thing that struck me about the House of the Dragon teaser was how heavily the new series is borrowing from Game of Thrones in terms of aesthetic. It’s a prequel set in the same universe, so similarities are to be expected, but if I didn’t know any better or I’d been out of the loop for a couple of years, you could’ve shown me the teaser and told me it was Game of Thrones Season 9 and I’d have believed it. We aren’t just talking about obvious things either, like the Hand of the King badge or the throne room set. The way the teaser used camera shots, the lighting for scenes and characters, and even the music all leaned very heavily on Game of Thrones.
Everything about this shot, from the lighting to the position of the camera, feels like it has been lifted directly from Game of Thrones.
It’s hard to see House of the Dragon as its own thing right now, and that could become an issue for HBO. Any prequel or spin-off naturally relies on what came before, but when you compare House of the Dragon to similar projects, there are key differences. Star Trek: Enterprise created an entirely new look for its 22nd Century setting, one which aimed to blend the modern world with Star Trek’s futuristic technology in a way that felt like a half-step between the world of 2001 and Captain Kirk’s 23rd Century. It didn’t always succeed at that, but it made the effort to distinguish itself from other parts of the Star Trek franchise.
Even the Star Wars prequels changed up significant visual elements. Some of the starships and armour designs shown off in the prequel trilogy managed to feel like a natural ancestor of the familiar Star Destroyers and Stormtrooper helmets we knew and loved from the original films. Other prequels and spin-offs likewise make an effort to appear new, different, or to have at least some distinctive elements that make the project unique. I didn’t see any of that in the House of the Dragon teaser.
The familiar emblem of the Hand of the King.
When HBO greenlit House of the Dragon and considered scripts and story treatments for at least four other Game of Thrones spin-offs, the original show was riding high. Maybe Seasons 6 and 7 had started the process of tarnishing its halo a little, but there was hope and optimism that Season 8 would see the series end on an explosive high note – setting the stage for prequels and spin-offs and getting fans incredibly hyped for what was to come. The ending of Season 8 killed much of that hype stone-dead, and in the intervening couple of years it really does feel like Game of Thrones has completely dropped out of our collective cultural conversation.
In that environment, House of the Dragon needed to do more in this first look to reassure wayward fans that lessons have been learned and that there won’t be a repeat of Game of Thrones Season 8. The teaser needed to demonstrate that House of the Dragon will be worth fans’ time and investment because it’s something different, a series with a planned story that won’t go off the rails. By showing us something that felt very familiar and very samey, this first teaser hasn’t achieved any of those objectives. Instead it seemed explicitly designed to offer fans more of the same – more Game of Thrones. It’s as if the overwhelmingly negative reaction to Season 8 fell entirely on deaf ears at HBO.
The lighting in this shot feels just like the lighting in the Game of Thrones episode The Long Night… and that isn’t a compliment.
Imagine being a huge Star Wars fan, then absolutely hating Return of the Jedi. It’s hard to remember now, but that film was once considered the weakest part of the Star Wars trilogy, with fans deriding things like the Ewoks and the Death Star redux storyline. But imagine being a Star Wars fan who’d absolutely detested the way Return of the Jedi ended – and then a few years later being offered the Star Wars prequels and The Phantom Menace. Would you want to go back and get invested in that world all over again? Or would you be cautious, unwilling to make a commitment to a new story when the last one just plain sucked? That’s the position many Game of Thrones fans – or ex-fans – are in at the moment. HBO is offering more Game of Thrones to a fanbase embittered by the way Season 8 was handled.
None of this addresses the merits of House of the Dragon. The series may very well be good – as the first five-plus seasons of Game of Thrones were. But the task that lies before it is a difficult one, and I don’t think that the way it’s being marketed – at least based on this first teaser – has helped.
Promo poster for House of the Dragon.
House of the Dragon has to demonstrate that there’s more to Westeros than Daenerys, Jon Snow, and the Night King. It has to take a familiar setting and make us care about new characters and new factions all over again, to reset the lands of A Song of Ice and Fire and potentially tee up even more shows and films down the line. It has the task that Star Trek: The Next Generation had in 1987 – to demonstrate that a successful series can become a successful franchise.
For all of the lore and detailed history of Westeros that George R R Martin has written over the years, only one part of that has thus far made it to the screen. Many fans, even those deeply invested in the television show during its run, were only aware of events like Robert’s Rebellion, Aegon’s Conquest, or the Dance of Dragons from throwaway lines spoken by characters in dialogue. The lore of Game of Thrones was backstory for the events happening in that show – and whether any of it will translate to standalone projects and stories is now up for debate.
A return to the throne room in King’s Landing seems to be on the agenda.
Where Game of Thrones excelled in its earlier seasons was its sense of scale. The world-building beyond the characters we got to know was exquisitely handled, and it was only in the latter part of Season 7 and through Season 8, as the number of characters and locales shrunk, that that sense of scale diminished. In short, the world of Westeros does feel lived-in, as though there are more stories out there to be told. That’s a huge point in favour of House of the Dragon – and other potential spin-offs that may be coming in future.
House of the Dragon also has the task of trying to appeal to new fans. Perhaps those who tried Game of Thrones but found its large number of characters confusing in those first few episodes, or fans of the books who didn’t give Game of Thrones a chance, as well as a broader television audience. The show can’t just rely on fans of the original series to flock back – it has to have more to offer beyond the existing fanbase.
King Viserys I in the teaser for House of the Dragon.
With The Witcher Season 2 coming soon, Amazon’s Lord of the Rings prequel, The Wheel of Time, and now House of the Dragon, there’s a lot for fans of fantasy to look forward to. That’s also a potential pitfall for House of the Dragon, though, as Game of Thrones blazed a trail in the big-budget fantasy television genre that others are now scrambling to follow. House of the Dragon won’t have the genre all to itself, and Amazon’s Lord of the Rings series in particular will be a major competitor.
Although I have gripes with the way Game of Thrones ended, I’m interested to see more of Westeros. But “interested” is as much as I can muster right now. I’m not hyped, I’m not excited. I’m interested… cautiously so. HBO has work to do to rebuild trust between its creative team and the fanbase, and the number one objective has to be convincing lapsed fans to get back aboard the hype train. I don’t believe that the right way to go about that is simply to say “here’s more of the same,” because that’s what fans got burned by last time. House of the Dragon has to balance its place in the expanded franchise with offering something at least slightly different, and from this first teaser I saw nothing even superficially so.
I’d love to see House of the Dragon be successful. Heck, I’d like to see it surpass Game of Thrones and reinvigorate interest in Westeros and A Song of Ice and Fire after the disastrous ending to Game of Thrones tainted the brand. Maybe then George R R Martin might actually finish the novels! A fan can dream, eh?
House of the Dragon will stream on HBO Max in 2022. All properties mentioned above – including Game of Thrones and House of the Dragon – are the copyright of HBO and/or Warner Bros. Television. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
In October 1971 Walt Disney World first opened its doors, making this month the park’s fiftieth anniversary. Though competitors have risen in the years since – Universal Studios most prominently, but there are others – Disney is still the world’s preeminent theme park brand in 2021, which is no small accomplishment!
2006 was the last time I managed to get to Walt Disney World in Florida, and it seems unlikely I’ll be able to make another trip – my health generally prevents me from travelling these days. But I’ve made some wonderful memories at Walt Disney World, from my first trip when I was very young with my parents through to an incredibly fun jaunt with friends while at university. Walt Disney World has always had a lot to offer – and not just for children.
Mickey and Minnie are celebrating 50 years of Walt Disney World!
Recently I put together a list of ten of my favourite Walt Disney World attractions – and you can find it by clicking or tapping here. Long story short, some of the best experiences at Disney – at least in my opinion – aren’t the most extreme roller coasters with the highest drops or fastest speeds. What Walt Disney World has always excelled at is its world-building, crafting lovingly-detailed experiences that don’t need to rely on speed or being an adrenaline rush to hook riders in.
Attractions like Spaceship Earth, the Tomorrowland Transit Authority PeopleMover, and even the Monorail are all incredibly fun to ride over and over again, and in many ways it’s these slower rides that made me fall in love with the Disney theme parks. It’s this combination of slow rides, dark rides, fast-paced rides, shows, and simulation experiences that has meant Walt Disney World has so much to offer to such a range of visitors. Many theme parks – especially here in the UK – tend to be built around one or two big attractions, and these are almost always ultra-fast adrenaline rush roller coasters. Once you’ve ridden one or two, you’ve ridden them all!
The Tomorrowland Transit Authority is one of my favourite rides!
Every aspect of Walt Disney World was planned in detail – with early plans coming from Walt Disney himself before his death in 1966. The idea of corridors running underground to allow employees – better known as “cast members” – to secretly move from one location to another out of sight of guests is a genius move. It means that guests never see a character “out of place;” no cowboys in Tomorrowland nor spacemen in Frontierland.
On a smaller scale, no shop in Walt Disney World sells chewing gum. Why? Because it’s one of the worst forms of litter and the hardest to clean. If every road and pavement were covered with discarded gum the entire park would feel ever so slightly less polished, and Walt Disney was very keen that visitors should feel as if they’d been transported to a magical land away from their everyday lives. He wanted everyone to have the perfect experience – at least within their budgets!
Walt Disney.
The food at Walt Disney World is also exquisite. The park has a huge variety of restaurants and fast-food joints both in the parks and attached to the numerous hotels spread across the property. Many of these are themed experiences in and of themselves, offering guests a chance to dine in the banquet hall of a castle or an orbiting space station – with themed menus to match. And of course, many restaurants bring Mickey Mouse and other characters right to the table.
Walt Disney World didn’t pioneer the concept of the theme park. It wasn’t even the first Disney theme park, with California’s Disneyland having been open for more than sixteen years before it came along. But Walt Disney World took the theme park concept and honed it to near-perfection, having learned the lessons not only of Disneyland but also of other theme parks as well. With years of experience under their collective belts, the team behind Walt Disney World came together to build what they hoped would be the best theme park in the world. Fifty years later the park is still right at the pinnacle of the theme park industry, so it’s hard to say that they didn’t succeed.
The original Walt Disney World logo. It was in use from the park’s opening in October 1971 until 1996.
There are controversies about the way Walt Disney World came to be, of course. Not least the Walt Disney Company’s policy of buying up the land that the parks would ultimately be built upon using dummy companies with fake names to avoid the price shooting up! And of course it’s sad that Walt Disney didn’t live to see his project to completion.
As we look back at Walt Disney World, it’s only natural to look forward, and I’m afraid it’s here that I see new controversies, as well as problems ahead.
In the early 2000s when I was planning a trip to the parks with friends, it was quite achievable for students to put a bit of money aside from part-time jobs to be able to afford not only to visit Walt Disney World, but to do so in style! After saving up, my friends and I were able to afford flights there and back from the UK, as well as a moderately-priced hotel, park tickets, food, and we still had money left over for souvenirs. I can’t remember the exact amount of money we spent apiece, but none of us were wealthy and we still managed to have a wonderful time.
Visiting Walt Disney World is an increasingly expensive proposition.
Nowadays, the inflated prices Walt Disney World charges – and the dozens of hidden extra charges – make it so much more difficult to consider a trip there a worthwhile investment for a lot of folks. Walt Disney World now charges for parking – even at hotels – which is something that never used to happen. And coming very soon is the “Disney Genie Plus” app and programme, which includes paying to skip some of the lines at popular attractions – including on a ride-by-ride basis in some cases, with prices rising dynamically depending on how busy the park gets.
Add into the mix the generally inflated prices of everything from tickets to food, and Walt Disney World is no longer a holiday within reach of everyone. It’s beginning to feel like an attraction targeting wealthier folks exclusively, and when a vacation for a small family is now easily running around the $6-8,000 mark (not including flights, which from the UK aren’t exactly cheap) it’s hard to argue with that assessment.
The new Disney Genie Plus paid-for service is going to make Walt Disney World more expensive – and a worse experience.
Just to give one example, a single portion of popcorn from one of the popcorn stands scattered throughout the parks now comes in at $5.25 (£3.90). That’s a heck of a lot for something as basic as popcorn, so you can imagine that other snacks and meals are priced similarly. Because Walt Disney World knows it has a captive audience, prices have shot up. It was never a cheap place, don’t get me wrong, but recent years have seen price hikes left, right, and centre.
In addition, Walt Disney World is losing many of the things that made it unique. One-of-a-kind attractions are being replaced with bland-looking roller coasters, and rides that used to have unique animatronic characters are being closed down or altered to include Disney-branded characters. One of my favourite rides at Epcot was called El Rio del Tiempo, and it was a slow boat ride that brought guests a small taste of Mexico and Mexican history. Since I last visited it’s been re-themed to include Donald Duck.
El Rio del Tiempo is one of many Walt Disney World attractions that you can’t find any more.
Rides and attractions like El Rio del Tiempo – and many more – were part of what gave Walt Disney World its unique charm. There were always Disney-themed rides like Peter Pan’s Flight or the Mad Hatter’s Tea Party (from Peter Pan and Alice in Wonderland respectively), but they were balanced out by these other rides that weren’t associated with a film or television series. With some rides like Pirates of the Caribbean and Jungle Cruise having been turned into films in recent years, there aren’t many attractions left that exist purely for their own sakes any more. Perhaps I’m showing my age by lamenting that change of focus!
To end on a much happier note, one of my favourite memories as a geeky, nerdy kid came at Walt Disney World in the early 1990s. Not long after having seen the Star Wars trilogy for the first time, I got to go on a Star Wars ride – Star Tours – at Walt Disney World. After queuing up excitedly, the moment the doors to the Starspeeder 3000 wooshed open for the first time was truly thrilling! Boarding an actual spaceship complete with a droid pilot and going on my own little Star Wars adventure felt like a dream come true.
I have incredible memories of Star Tours!
Walt Disney World has delivered an uncountable number of moments just like that one to children and to adults. My cousin visited a couple of years ago, and her daughter got a complete “princess makeover,” complete with makeup, a tiara, and a princess dress. Wherever she went all day long the cast members would bow and wave and treat her like a real Disney Princess. These kinds of once-in-a-lifetime experiences really don’t exist anywhere else, not in the same way. Just like I had my moment of wonder as I boarded a ship in the Star Wars galaxy, so too did my cousin’s daughter as she was transformed into a princess. Walt Disney World makes magical memories like that, and I hope it always will.
The only reason I criticise Walt Disney World for some of the recent changes – particularly the way things are being priced and the “stealth” costs like charging for hotel parking – is because I wish those kinds of experiences were available to as many people as possible. Walt Disney’s dream was that families could visit his theme parks together, and he even said: “Disneyland is a work of love. We didn’t go into Disneyland just with the idea of making money.” Try telling that to the executives of the company today, eh!
I doubt that I’ll ever get back to Walt Disney World. But the park holds happy memories for me from childhood – and from adulthood as well. I hope that the park succeeds and will endure for another fifty years, bringing those same happy memories to new generations.
All properties mentioned above are the copyright of The Walt Disney Company. Some images courtesy of The Walt Disney Company and the Disney Wiki. 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 The Mandalorian Seasons 1-2 and Return of the Jedi.
“Mixed feelings” might be the best phrase to describe my attitude toward the upcoming Disney+ Star Wars series The Book of Boba Fett. I have no doubt that the series will do a lot of things well, from visual effects to exciting action sequences. But if you recall my criticisms from 2020 when it was first rumoured that Boba Fett might be included in Season 2 of The Mandalorian, the bare premise of the series is enough to leave me underwhelmed.
Let’s be blunt for a moment. Boba Fett was a dull character whose entire popularity in the early 1980s came from his unique-looking armour. This led to sales of action figures, models, and dolls – and an oversized, undue gravitas given to a minor, one-dimensional foil for Han Solo. Boba Fett does have a unique, cool look, I won’t deny that. But his role in The Empire Strikes Back and Return of the Jedi was minor, and his death in the latter film was a fittingly unspectacular end for an unspectacular character.
Boba Fett’s popularity stems from toys and action figures. By the way, does anyone else really dislike Pop Vinyl/Funko Pop? I just can’t get on board with the design of practically any of their figures…
However, Boba Fett’s popularity endured over the years, helped in no small part by his character being fleshed out in a fan-fictiony way by writers of the old Expanded Universe books and comics. So by the time of the prequels, George Lucas and others involved in the production of those films clearly felt an obligation to include backstory for him as well.
I don’t hate Boba Fett, but when I watched the Star Wars trilogy for the first time I just didn’t get the hype. Why was this character so remarkable considering he did one thing – captured Han Solo – then died in a pretty stupid way when his jetpack misfired? And he didn’t even capture Han Solo himself, he had to enlist the help of Darth Vader and a whole legion of Stormtroopers. In short: cool-looking armour, but that’s about as much as I can say about Boba Fett in his original incarnation.
Boba Fett’s first appearance in The Empire Strikes Back.
However, The Book of Boba Fett isn’t following the character as he appeared in the original films. As I noted in my review of Season 2 of The Mandalorian, the character introduced to us as “Boba Fett” feels a long, long way removed from the bounty hunter we met in The Empire Strikes Back. His entire demeanour was so radically different that I said in my review that the two characters feel entirely separate. The plot of The Mandalorian Season 2 wouldn’t have been any different had that character been given a different name and Boba Fett never been mentioned.
One thing I will credit The Mandalorian’s Boba Fett with is that I felt the character got a more nuanced portrayal than he ever did in the films. There was a sense that this man was a weary veteran, ready to hang up the armour and live a quiet life somewhere. He’d fought all the battles he wanted to fight and was ready to try something new – at least until we saw him in the final moments of the season seemingly intent on seizing control of Tatooine’s underworld.
Boba Fett as he initially appeared in The Mandalorian Season 2.
Just like The Rise of Skywalker had done before it with Palpatine, The Mandalorian Season 2 completely ignored what has to be the most important point about Boba Fett: how on earth is he still alive? If the new series can find a way to pull an answer to that question out of its backside that even makes a degree of sense, it’ll have made progress. And I think that’s my biggest single request when it comes to the storyline of The Book of Boba Fett: find some way to give us a plausible explanation for the main character’s survival.
Remember that Boba Fett fell into the gaping mouth of a giant monster in the Tatooine desert. The Sarlaac monster in the Pit of Carkoon was presented as a truly awful torturous death, supposedly taking a long time in its inescapable digestive tract. Jabba the Hutt was said to favour this method of execution, and planned to execute Luke Skywalker and Han Solo there in Return of the Jedi. Boba Fett fell into the monster’s mouth, and that seemed to be a very definitive end for him!
How did Boba Fett survive? Finding a plausible answer is key to the show’s success.
One aspect of the story of The Mandalorian Season 2 has potentially complicated any story of Boba’s escape. The fact that his armour had been lost on Tatooine, recovered by Jawas and later sold to Cobb Vanth clearly indicates that Boba didn’t simply blast his way out of the creature as soon as the battle on Jabba’s barge was over. Because he fell into the pit wearing his armour – and thus carrying at least some of his weapons – the show might’ve been able to argue that he didn’t die and simply shot his way out. But if so, he’d have kept his armour.
So the question of his survival remains, and in the aftermath of just how poorly the awful line “somehow Palpatine returned” went down in The Rise of Skywalker, I can’t imagine that The Book of Boba Fett would try to ignore this point. Even if all we get are a few lines of dialogue saying that he climbed out and was saved by roaming scavengers or Chewbacca’s great-aunt, I think we need some kind of closure before we can take seriously the fact that Boba Fett is back.
Boba Fett, moments before dying like a chump.
Then we come to the premise of the series itself, and this is perhaps what I’m most interested in. One of my biggest disappointments when it came to The Mandalorian was that the show’s basic premise remains unfulfilled despite sounding incredibly promising. I wanted to see “the adventures of a gunslinger away from the reach of the New Republic,” but instead the show brought Baby Yoda, the Force, the Empire, and even Luke Skywalker into play in a story that increasingly felt like Return of the Jedi II as Season 2 wore on.
The Book of Boba Fett promises us the following: “Legendary bounty hunter Boba Fett and mercenary Fennec Shand navigating the galaxy’s underworld when they return to the sands of Tatooine to stake their claim on the territory once ruled by Jabba the Hutt and his crime syndicate.”
Though I stand by my criticisms of the Star Wars franchise making desperate nostalgia plays for characters and settings from the original films, that premise doesn’t sound half bad. Though I don’t want to get my hopes up too high after being burned by The Mandalorian, maybe we can finally get a look at the Star Wars galaxy away from the Force and the Skywalker family.
Hopefully The Book of Boba Fett won’t be repeating scenes like this one…
Boba’s survival after falling into the Pit of Carkoon risks coming across as cheap, fan-servicey, and just plain dumb. But if the show can find some way to navigate that sizeable pitfall (pun intended), then Boba Fett could actually prove to be an interesting point-of-view character for exploring the darker side of the Star Wars galaxy.
As an ex-bounty hunter, Boba Fett used to inhabit this seedy underworld that the show’s official description is teasing us with. But as someone who’s been out of action for almost a decade at this point, things have moved on in his absence. The biggest change, most likely, is the fall of the Empire. Without the Empire to crack down on criminals, and with the New Republic taking a different approach, it’s possible that the criminal underworld has grown since Return of the Jedi.
What will the criminal underworld be like after the fall of the Empire?
Boba Fett will have to navigate a changed world, and that offers up a lot of potential for exposition and explanation to be dropped into the series in a way that makes sense. There’s a high probability of learning more about the Star Wars galaxy – and particularly its criminal side – than we ever have before. That idea is definitely an interesting one, and though I wouldn’t personally have chosen to bring Boba Fett back from the dead in order to tell this kind of story, as a concept it’s hard to fault.
As a character, Boba Fett is perhaps open to further exploration. As I noted above, in his original appearances he was fairly one-dimensional, and his role in The Mandalorian Season 2 came with a degree of mystery to it. There’s scope to learn more about Boba Fett the man: who is the person underneath the armour? What drives him? What are his ambitions now that he’s got his armour back and taken over Jabba’s former throne? All of these things could potentially lead to interesting moments of characterisation, and as a concept the idea of an anti-hero or a villain with a heart and understandable motivations can work exceptionally well.
Din Djarin with Boba Fett in The Mandalorian Season 2.
All of this could come to pass if the show stays true to its premise! And this is where my concerns kick in. As Boba Fett’s return proves in and of itself, the Star Wars franchise is completely and utterly dependant on its original films and the characters and concepts that were present there. The Mandalorian brought us Baby Yoda, the Force, Ahsoka, the Empire, and Luke Skywalker in its first two seasons – along with dozens of other throwbacks to Star Wars’ past. Some of these elements came close to working, but overall they drowned out any originality the series could’ve had. I fear that The Book of Boba Fett will meet a similar fate.
There are all manner of ways this could happen. Off the top of my head, here are a few: Boba Fett comes into conflict with Luke Skywalker and his new Jedi Order somehow, perhaps even seeking revenge for his encounter with the Sarlacc. Maybe Han Solo will be a target of Boba Fett’s over the course of the show, again looking for revenge. Some other Jedi could emerge, perhaps a character from the prequels or one of the kids’ shows. Boba Fett could encounter Jedi or Sith artefacts, which would bring the Force into the series. And so on. There are many ways that we could see the show fall back on these nostalgia plays and fail to live up to its potential.
Promotional poster for The Book of Boba Fett.
I’d love for The Book of Boba Fett to have more to offer than nostalgic throwbacks, good visual effects, and well-constructed moments of action and excitement. Whether it will or not… well, the jury’s still out. I’m hopeful, but cautious.
The Book of Boba Fett exists in a strange space for me. I should feel more excitement for what is only the second ever live-action Star Wars television series, especially considering the huge budget afforded to shows made for Disney+ and the platform’s excellent track record with visual effects. Star Wars has literally never looked better in terms of visuals and special effects, and with the franchise taking a different turn to perhaps visit the seedier underworld in depth for the first time, there are things that pique my interest. I’m just having a hard time jumping on the hype train.
Despite that, I will do my utmost to give The Book of Boba Fett a fair shake. It will premiere on the 29th of December – right in the middle of Star Trek: Discovery’s imminent fourth season. I can’t promise I’ll have time to review every individual episode with so much else happening in December, but I’ll certainly share my thoughts on the series at some point, so I hope you’ll stay tuned for that. I’d love to be able to come back after the show’s first season and say that my fears and doubts were unfounded.
The Book of Boba Fett will premiere on Disney+ on the 29th of December 2021. The Star Wars franchise – including The Book of Boba Fett and all other properties mentioned 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.
The media is truly excellent at manipulation. Take the UK’s recent petrol and diesel shortages as an example. A “leak” from a private meeting between government officials and industry leaders suggested that the chronic shortage of lorry drivers – which extends far beyond Britain’s borders, afflicting much of western Europe and even the United States – could make it harder to ensure fuel deliveries to petrol stations. The inevitable and quite predictable result of the press reporting this as if it were imminent was panic-buying; a run on fuel.
It wasn’t until the media-reported “leak” that the panic-buying began, which led to the very fuel shortages that headlines screamed were coming. In short, the UK’s current fuel predicament is entirely a media-created problem, but I doubt very much that the responsible parties will ever be held accountable.
There has been a run on petrol stations in the UK over the last few days, all thanks to the media.
The same is true of other instances of panic-buying over the last couple of years. The infamous toilet paper shortage at the beginning of the pandemic was, once again, a media-created firestorm. And many media outlets, particularly tabloids, haven’t stopped trying to create more “shortages” to report on ever since. They prioritise sales, clickbait, and the revenue that panic-inducing headlines provide over any semblance of journalistic integrity, taking photos of supposedly “empty” shelves in supermarkets and showing them to the world under exaggerated headlines promising imminent doom.
My first ever job when I was still at school was working in a convenience shop in a small town. On any day of the week it was possible to find an empty shelf – most shops and supermarkets don’t have large stockrooms any more, with the just-in-time delivery system bringing everything on a daily basis. By the time evening rolled around, some shelves could look pretty bare. It’s at these times of day that many tabloid “journalists” and their photographer allies sneak into supermarkets to snap pictures of empty shelves in a desperate quest to keep the public buying newspapers (a dying format) or clicking on headlines proclaiming that we’re all about to starve to death.
You can find scenes like this seven days a week in most supermarkets, convenience stores, and food shops.
Even if there are individual industry-specific shortages or supply chain problems, these aren’t going to be permanent. The fuel panic has already blown over in much of the country, with only the London area still fully in the grip of the crisis. And promises of additional drivers and tankers backed up by the army should see that settle within a matter of days. Likewise in food, where certain products have been out of stock. These things don’t last forever, because it’s in everyone’s interest, from the government to the shops to their suppliers, to figure out solutions as quickly as possible. The only ones who benefit in any way from these shortages – or reported “shortages” – are the media.
So why, then, am I finding it hard to resist the temptation to join in and start panic-buying?
Partly this is an anxiety thing, and folks who suffer from anxiety to a worse degree than I do must surely be feeling awful right now. Headlines are screaming of shortages in fuel, meat, fruits and vegetables, and even proclaiming that Christmas is about to be “cancelled” due to a lack of festive food and toys. For people with mental health conditions, these kinds of headlines are just awful.
“Christmas is cancelled!” scream the headlines in some failing newspapers.
The rational part of my brain is fighting the irrational side – as it always has to. Are there enough lorries to transport everything I need? Will I have enough food? Will I be able to get enough food for the cats? What about my medication? What about cat litter? What about bin liners? What about this, that, and the other things?
It’s so very tempting to say “I’ll just pick up a couple of extras.” That doesn’t feel like panic-buying, and I can even rationalise it to myself by saying that I’m not panicking, I’m just being sensible and taking precautions in case other people start panic-buying. Besides, the supermarket won’t miss a couple of extra tins of potatoes and packets of cat food, right? They’ve got loads of stuff on the shelves (despite the false pictures printed in the newspapers!)
A shortage of HGV drivers is one factor in some of these “shortages.”
The problem with that mindset is that, when everyone does the same thing, shops run out of everything more quickly. When people who have their tanks half-full stop by the petrol station for a top-up “just in case,” fuel runs out. And that’s exactly what we’ve been seeing over the past week. People who didn’t need to buy fuel, and wouldn’t have under normal circumstances, have started queueing up to top up their vehicles in case there’s a shortage caused by panic-buying… not realising or acknowledging that they themselves are part of the problem.
It’s an easy trap to fall into. And it’s easy to talk oneself into it, too. After all, if there’s even the possibility of things running out, it makes sense to jump in ahead of the panic and stock up, right? The mindset of “other people panic-buy; I’m just being sensible” is a way for all of us to rationalise what is really not rational behaviour. The fear of missing out, of sitting at home without food or toilet paper or petrol wishing we’d taken action sooner is pushing people on, spurring them to take irrational action and do the wrong thing at the wrong moment.
Other people panic-buy, but when *I* rush out to buy things I don’t need, I’m “just taking sensible precautions” or “stocking up.”
In the west, most people have never had to experience a genuine shortage of anything. In the UK, there haven’t really been any major problems or shortages since the 1970s, meaning anyone under the age of 50 can’t remember the three-day week or rolling blackouts. There hasn’t been a petrol shortage since fuel protests in the year 2000, and that was swiftly resolved. While there were supply issues for a few select products – like toilet paper – early last year that are certainly playing into people’s fears, it’s been a generation since the country last endured any major shortages.
With no experience of hard times to fall back on, people are more inclined to panic. Some genuinely fear starvation – though their girth suggests that such a fate would take a very long time indeed. But most people simply fear the unknown: what will a world without easy access to abundant supplies of food look like? Not knowing leaves folks much more inclined to panic.
The UK hasn’t experienced problems like these since Ted Heath was Prime Minister in the mid-1970s.
The media as a whole is being phenomenally irresponsible, though certain publications are worse than others. The incompetent government isn’t helping, of course, and things like a cut to benefits (welfare), a lower-than-expected rise in pensions, tax rises, and major price rises for electricity and gas bills all pile on top of the supposed shortages, adding to a sense of unease and worry among the population. On a personal level, I’m seeing my income shrink right at the moment my bills rise. With people already worried about paying for the basics like food and heating, the threat of food supplies drying up or no fuel at the pumps was the last straw for a lot of people.
It’s understandable, then, why people feel compelled to join the queues at petrol stations or push their way into packed supermarkets to chase down the last roll of Andrex. And I can take some degree of comfort in knowing that I’m not the only one who feels that way. Fighting the urge to panic-buy isn’t easy… but it’s worth doing. In fact, it’s the only way to prevent more panic-buying in the long term. That and not buying any newspaper with a red top or clicking on a clickbait headline on a poorly-coded website.
I’m going to try hard to avoid succumbing and contributing to the panic. Hopefully the reward will be a government that pays attention and actually takes action to fix the systemic issues that got us to this point – but I won’t hold my breath for that. Until then, I think I’m going to take a break from the news and focus on happier things. Like re-watching yesterday’s episode of Star Trek: Lower Decks. Damn, that was a fine episode.
Some stock images courtesy of Unsplash and/or 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: Lower Decks Seasons 1-2. Spoilers are also present for Star Trek: Discovery Season 1 and Star Trek: Picard Season 1.
I, Excretus was an exceptionally funny episode. Where other episodes of Lower Decks this season have offered a mixture of comic moments and drama, this week the comedy started in the first moment of the story and didn’t let up until the very end. Though the crew were put in peril thanks to the actions of a rogue drill instructor, the entire story was light-hearted and funny, with the villainous Shari Yn Yem played in an incredibly over-the-top way.
The episode had a “Saturday morning cartoon” vibe, feeling like a story in the vein of classic cartoons such as Wacky Races or Scooby-Doo, Where Are You. For the first time this season, all four ensigns and all four main members of the senior staff participated in a single story. Each of the ensigns had their own moments in the spotlight, but every drill they participated in and every action they took all played into the same overarching plotline.
“We won’t let you get away with this!”
This makes a change from the way Lower Decks has often operated. There wasn’t a B-plot this time to balance things out, and though Boimler spent much of the episode focusing on his own drill this still connected to the rest of the story in a significant way. As a result of bringing its characters together, everyone felt like they had a significant role to play; no character felt extraneous or unnecessary. And because there was only one real story to focus on, with no need to bring in side-characters or send anyone on their own mission, the entire episode felt well-paced.
I’ve commented on a couple of Lower Decks episodes this season that didn’t manage to strike the right balance in terms of stories and characters – usually as a result of trying to cram too many plotlines and characters into a single twenty-minute timeframe. But there’s no denying that I, Excretus doesn’t have that problem!
It was great to bring the show’s main characters together for a change.
Lower Decks has been rather odd in the way it’s used some returning characters and actors from past iterations of Star Trek. John de Lancie as Q and Robert Duncan McNeill as Tom Paris both felt under-used in the episodes they appeared in, and if I were to make one criticism of I, Excretus it would be that Alice Krige’s role as the (holographic) Borg Queen was incredibly minor. It’s another case where it was wonderful to welcome back an actor from Star Trek’s past, but I would’ve liked to have seen her given more than just a couple of lines.
Sticking with the Borg, although Boimler was only facing off against them in holographic form, it’s still the first time we’ve seen active Borg drones in modern Star Trek. Star Trek: Picard Season 1 featured scenes set on a derelict Borg cube, and of course brought back Hugh, Seven of Nine, and other ex-Borg. But there was never any danger posed by the Borg; no threat of assimilation, no legions of drones, etc. It was actually great fun to see a semi-Borg story for the first time in such a long time in Lower Decks – even if it was just a simulation!
Boimler’s Borg encounter was a fun element of the episode’s storyline.
The design of the Borg was particularly neat. The entire aesthetic, from the drones to their ship, was right in line with their earlier appearances in The Next Generation, complete with larger “helmets,” black undershirts, and so on. Though the design of the Borg hasn’t changed that much, by the time of First Contact and Voyager they’d taken on a more streamlined look. Lower Decks brought back what I guess we could call “original” Borg, and that made their inclusion in the story even more fun.
As a complete aside, how much fun would it be to give Lower Decks a proper Borg story sometime? An episode structured like I, Excretus would be perfect, too, with the ensigns and senior staff all having to work together to overcome their cybernetic enemies. Of course the USS Cerritos wouldn’t do well against a Borg cube… but perhaps they could have trouble tangling with a Borg scout ship or probe! For a moment as the episode drew to a close I actually wondered if Boimler’s “assimilation” would be something the series would return to next week, perhaps even ending on a cliffhanger. But I suspect the season will close out with the return of the Pakleds either this week or next. Still, I’m officially putting it out there: a Lower Decks Borg episode would be fantastic!
Boimler faced off against the Borg Queen this week… albeit in holographic form.
The drill format and the use of what looked like portable mini-holodecks allowed I, Excretus to be absolutely jam-packed with throwbacks to past iterations of Star Trek. The episode’s entire premise gave the writers an excuse to delve deeply into Star Trek’s past, picking out classic episodes and thrusting members of the Lower Decks crew into those scenarios. It worked exceptionally well, and there were overt references to The Original Series, films, and The Next Generation that all slotted seamlessly into the plot.
It was also a lot of fun to welcome back a Pandronian. These “colony creatures” were first encountered in The Animated Series, but for obvious reasons proved impractical to depict in any of the live-action shows. Lower Decks has had a number of references to The Animated Series, and this latest one was neat too. Apparently the Pandronians are now on friendlier terms with the Federation than they were in Captain Kirk’s day!
The episode’s villain, Shari Yn Yem, was the first Pandronian seen in Star Trek since The Animated Series.
I, Excretus had a fun opening gag, but unfortunately it was one that had been spoiled by pre-release trailers. Though it was a lot of fun to see the ensigns accidentally abandoned by the Cerritos while on a spacewalk, knowing that it was coming kind of robbed the moment of much of its humour. As I said shortly before Lower Decks Season 2 premiered, the marketing team seemed to go overboard with throwing out trailers, clips, and mini-teasers in the run-up to the season premiere. I actually ended up switching off and not watching all of them specifically because I wanted to avoid this feeling.
This is something I call “the Simpsons Movie phenomenon” – named for the incredibly bad way that film was marketed. Long story short, by the time I sat down to watch The Simpsons Movie I’d literally already seen every single good joke, visual gag, and funny moment because they were all included in the trailers! Lower Decks isn’t that bad – at least not yet – but it’s definitely something the marketing team should keep in mind. There’s a line to walk between getting viewers interested in an upcoming production and revealing too much, and Lower Decks has definitely come close to skirting that line sometimes. The entire opening of the episode prior to the titles set up this one joke – the ship warping away and leaving the ensigns behind. But a lot of folks will have already seen that moment because it was included in full in the trailers, depriving it of much of its impact. Though the episode as a whole was fantastic, and that moment at the beginning is quite funny, it’s something that I feel the show’s marketing team need to be aware of.
This moment had been shown ahead of time in the trailers for Season 2.
The opening joke came back into play later in the episode, and this is something Lower Decks has excelled at, particularly during Season 2. What seem to be one-off gags or jokes disconnected from the rest of the story actually prove to be important later on – such as the anbo-jyutsu match in Mugato, Gumato. Though the show still makes abundant use of throwaway jokes and one-off scenes, the fact that some seemingly innocuous moments end up connecting to the plot in a big way is testament to the quality of the writing. As a viewer it keeps us on our toes – we can’t be sure what’s just a joke and what might be important to the plot!
A big part of I, Excretus was showing how both the ensigns and senior staff struggled when forced to switch roles. This kind of team-building exercise can be important to morale, and perhaps we’ll see a future episode or story make reference to the lessons that the characters learned this week. Tendi’s story in particular highlighted this aspect of the episode – being put into a situation drawn from The Next Generation Season 5 episode Ethics, she came away from the experience with a great deal of respect for the decisions Dr T’Ana has to make on a daily basis.
Having the characters swap roles gave them a greater appreciation for their colleagues and the work they do.
Mariner was the character we spent the most time with during this portion of the episode. She got three separate drills whereas the others only got one each. Her first drill harkened back to Mirror, Mirror from The Original Series, complete with classic Terran Empire uniforms. Though the Mirror Universe has never been a personal favourite of mine, I’d actually be interested to see Lower Decks’ take on the setting in future. The glimpse we got this time was tantalising, and just like the Prime Timeline’s Cadet Tilly was a captain in the Terran Empire, maybe the alternate universe could shake up the command structure of the Cerritos as well. Captain Mariner, perhaps?
Her second drill took her to The Original Series again, this time the third season episode Spectre of the Gun. I’ve always had a bit of a soft spot for this Wild West-themed story, and though it didn’t take up a lot of time in the episode it was still neat to see. It also led to the revelation from Captain Freeman that Mariner took horse-riding lessons for two years, which was kind of cute.
Mariner during her Wild West drill.
Finally, Mariner got to experience polywater intoxication first-hand. And my goodness, if folks thought that Mugato, Gumato was “too adult” a couple of weeks ago, this sequence must’ve made their heads explode! As the holographic crew suffered from the strange affliction seen in The Original Series first season episode The Naked Time and The Next Generation first season episode The Naked Now, they engaged in all kinds of debauchery, much to Mariner’s shock and disgust.
There will be criticisms of that sequence, especially considering the weirdly squeamish, reactionary response to a five-second clip in Mugato, Gumato, and Lower Decks will have to face up to that. Some fans simply don’t like this style of humour. But as I said when I talked about this issue in more detail, as someone who is asexual I’m one of the people that you’d think would be offended or upset by these kinds of sexual jokes. But again, as with the moment in Mugato, Gumato, I just didn’t think it was a problem at all. In fact, some of the individual jokes during this sequence – such as Ransom getting a spanking and Mariner’s horrified reaction to it – actually made me chuckle.
Mariner did not enjoy this particular drill…
Rutherford got a Wrath of Khan-inspired moment during his drill, but unlike Spock was unable to sacrifice himself to save the ship. It was actually really cool to see the “monster maroon” uniforms in animated form, as well as to catch a very brief glimpse of what I assume would be the USS Enterprise in its refit configuration. Rutherford didn’t get as much screen time during this part of the episode, but his scenes harkened back to one of the best Star Trek films.
At first the senior staff thought they’d got it made! But as their drill ramped up and they were left in a cargo bay to stack crates while all manner of excitement seemed to be happening outside, they quickly became frustrated. Lower Decks originally promised us a look at the mundane activities away from the bridge, and stacking crates in a cargo bay seems about as boring a task as there is in Starfleet! Thinking back to episodes of Voyager or The Next Generation, though… someone has to have stacked those crates in the cargo bays!
The senior staff got a turn at being lower deckers!
As a “fish out of water” story, this side of the episode was fun. Putting the entire crew through their paces, then having them team up and use what they’d learned to defeat the villain made for an exciting, well-connected episode. Episodes like I, Excretus were exactly what I had in mind when Lower Decks was first announced, and although the A-plot/B-plot structure the show favours can work very well, once in a while it’s nice to see most of the characters working together and involved in the same storyline.
I had a great time with I, Excretus. The story was packed to the brim with very obvious callbacks to Star Trek’s past; the Mirror Universe, The Animated Series, even The Search for Spock were all represented in an incredibly fun, light-hearted story. Bringing the show’s main characters together for an outing that harkened back to old-school cartoons was truly fantastic, and I, Excretus will surely go down as one of the highlights of Season 2. Speaking of which… there are only two episodes remaining now that we’re into October. Where does the time go, eh?
Star Trek: Lower Decks Season 2 is available to stream now on Paramount+ in the United States, and on Amazon Prime Video in the UK and around the world. 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: Lower Decks Seasons 1-2 and for the following Star Trek productions: Discovery Season 2, The Original Series, The Next Generation, and Enterprise.
Star Trek: Lower Decks hasn’t lent itself to a lot of theorising thus far! The episodic nature of the show and humorous tone have seen a lot of one-and-done stories, as well as stories that draw on Star Trek’s existing lore and history rather than adding to our understanding of how life in the Star Trek galaxy works. And that’s fine – it’s a great show, one which generally succeeds at capturing the essence of Star Trek while showing a more amusing side to life in Starfleet.
Last week’s episode, Where Pleasant Fountains Lie, has led me to craft a theory, though, and it’s one that connects to events right at the beginning of the Star Trek franchise, back in the days of The Original Series. In short: have you ever wondered why Captain Kirk and his crew seemed to encounter a lot of “aliens” who were indistinguishable from modern humans? It’s possible – at least according to this theory – that Lower Decks might have just provided us with a plausible in-universe explanation!
Has the existence of the Hysperians in Lower Decks solved a fifty-five-year-old mystery?
Before we look at either Lower Decks or The Original Series, we need to take a detour to Season 6 of The Next Generation. The episode The Chase attempted to provide an in-universe explanation for the apparent abundance of similar humanoid races in the Star Trek galaxy: the interference of an extinct race of ancient humanoids, who “seeded” worlds across the Alpha and Beta Quadrants with their genetic material, essentially acting as forerunners or ancestors to Cardassians, Vulcans, Romulans, Klingons, humans, and perhaps many other races.
Just like the Klingon augment virus in Enterprise, or the warp speed limit from Season 7 of The Next Generation, this seemingly huge revelation about the ancient history of the Star Trek galaxy has been entirely ignored since the episode in which it first appeared, not even getting so much as a mention in the hundreds of other stories that have been produced since. That isn’t to say this explanation is wrong or landed poorly in the fandom, but as often happens when an episodic series introduces a major story point, writers who came along later either didn’t know what to do with it or didn’t want to explore it further. Thus the ancient humanoid story is a self-contained one that doesn’t have a great deal of bearing on the wider Star Trek galaxy – though fans can, of course, choose to interpret the presence of humanoids through the lens of The Chase.
Did ancient humanoids “seed” the galaxy with their genetic data? And if so, does that account for the abundance of humanoid races?
But The Chase only provided an explanation for the existence of humanoids – Klingons, Romulans, humans, etc. What it doesn’t really explain in any detail is the existence of species that are anatomically and visually indistinguishable from humans, and The Original Series featured plenty of those! For example, we have the people of the planet Gideon (from The Mark of Gideon), the Betans (from The Return of the Archons and later seen in Lower Decks Season 1), the Iotians (from A Piece of the Action), the people of the planet 892-IV (from Bread and Circuses), and the Earth Two natives (a.k.a. Miri’s species, from the episode Miri). All of these races – and many more – are completely identical to humans.
Most of the aforementioned peoples were treated in their original appearances as being non-humans, natives of whichever planet the Enterprise was visiting that week. But it certainly raises some questions, especially considering that other alien races could be at least superficially different: the Bajorans have distinctive noses, the Vulcans and Romulans have their ears, and so on. How or why did the inhabitants of these worlds come to be indistinguishable from humans – is life in the galaxy somehow predisposed to evolve into this precise form? The Chase offers half of an explanation, but even then it isn’t perfect. Enter last week’s episode of Lower Decks: Where Pleasant Fountains Lie.
A Roman centurion from the planet 892-IV.
Andy Billups, chief engineer of the USS Cerritos, is human. But he isn’t a native of Earth, nor of any Federation member world – his people are the Hysperians, a group of humans from the planet Hysperia who had constructed a society modelled around a medieval-fantasy/renaissance fair lifestyle and aesthetic. The important thing to note is that the Hysperians appear to be independent of the Federation, with their own monarchy, laws, culture, and fleet of starships. Though on friendly terms with Starfleet, the Hysperians appear to exist independently of the Federation.
So Where Pleasant Fountains Lie has confirmed that human colonies existed outside of the jurisdiction of the Federation. We knew that already, having seen worlds like Turkana IV (homeworld of Tasha Yar) in The Next Generation, but Where Pleasant Fountains Lie expanded our understanding of non-Federation humans. It seems as though the Hysperians – or their ancestors, at least – shared a common love for fantasy, magic, and a medieval/renaissance fair lifestyle, and set out to establish their own colony on that basis.
The Hysperians have their own system of government, led by a monarch.
Another episode from The Next Generation is important here: Season 2’s Up The Long Ladder. This episode introduced two colonies of humans – the Bringloidi and the Mariposans. The former were a group of luddites; Irish colonists who disliked the use of technology. The latter were a group of scientists, clones of the original colonists. The important thing to note for the purposes of this theory is that the Federation was unaware of the existence of either colony until the Enterprise-D made contact with them in the mid-24th Century. For more than two centuries, both colonies were completely unknown.
So now we come to the heart of the theory that was inspired by Where Pleasant Fountains Lie. Suppose a colony like Hysperia had been established centuries ago, but contact had been lost. If the Federation were to encounter the Hysperians for the first time, they would seem like an entirely different people at first, as they have their own distinctive culture, system of government, and starship designs. They don’t appear to be at all similar to modern Federation humans as of the late 24th Century, and it’s only because their colony’s origins are known to us as the audience and to Starfleet that we treat them as an offshoot of humanity and not as an entirely distinct people.
Bringloidi leader Danilo Odell with Captain Picard.
Here’s the theory, then, in its condensed form: the peoples Captain Kirk met during The Original Series that are identical to humans are, in fact, lost human colonies. Just like the Bringloidi and Mariposans, their records have been lost or their destinations not recorded, but at some point in the past they left Earth, established new homes for themselves, and developed their own cultures and ways of doing things.
Some of these peoples could even be the descendants of abductees, such as those encountered in the Voyager episode The 37’s or Enterprise’s North Star. The humans saved by the Red Angel and transported across the galaxy that Captain Pike and Michael Burnham encountered in the Discovery Season 2 episode New Eden were developing independently of the Federation in the mid-23rd Century, and Pike even instructed his crew that the Prime Directive applied when dealing with the inhabitants of Terralysium.
Burnham, Owosekun, and Captain Pike on the planet Terralysium. The inhabitants were descended from humans saved by the Red Angel.
Just like the Hysperians chose to build their society around a fantasy/renaissance fair-inspired aesthetic and setting, maybe some of these lost colonies likewise had the intention of building a world based around shared likes and interests. Perhaps the original colonists of 892-IV were big fans of Ancient Rome and deliberately created a Roman-inspired society. Perhaps Miri’s ancestors terraformed their world to make it resemble Earth. Gideon may be an Earth colony that got out of control, similar to Turkana IV. Or, as we see in episodes like North Star and New Eden, perhaps peoples abducted at a point in the past tried to recreate the societies from which they came.
I’ve never been a big fan of the ancient humanoids from The Chase as an explanation for the prevalence of humanoids in the Star Trek galaxy. I don’t think the fact that Klingons, Cardassians, and humans are all two-legged, two-armed, air-breathing beings of similar heights and builds was something that needed this kind of in-universe explanation; it was enough to leave it unsaid that the galaxy is populated by humanoid aliens. Trying to provide an explanation actually led to over-explaining and drawing unnecessary attention to it.
Personally speaking, I never felt that the galaxy being full of humanoid races (like the Klingons) needed a complex in-universe explanation.
But when it comes to aliens that are identical to humans, the explanation from The Chase only goes so far. If we try to argue that the abundance of human-looking aliens is caused by the meddling of ancient humanoids who also caused the evolution of the Klingons, Vulcans, Cardassians, etc. then the obvious question is why are there not dozens of Cardassian-looking aliens, or Klingon-oids?
Instead, what we could say is that these peoples are more likely to be lost Earth colonies. Just like the Bringloidi and the Mariposans, knowledge of their existence was lost in between their departures from Earth and their encounters with Captain Kirk. If we take The Original Series episode Space Seed at face value, humans had been able to launch large spacecraft since at least the late 20th Century, and with World War III taking place in the mid-21st Century, it’s possible that the records of thousands of space launches were lost. Just like Khan and his followers set out from Earth, perhaps the ancestors of some of these peoples did as well. Some may also be the descendants of humans abducted by aliens in the distant past, and this could explain how some humans have existed independently of Earth for centuries or millennia.
Natria, leader of the Fabrini.
So that’s the extent of this theory, really! I think it provides an interesting alternative explanation as to why Captain Kirk encountered so many human-looking “aliens” during The Original Series. We could even potentially extend this theory to include races like the Betazoids.
Obviously the reason why so many aliens in Star Trek, particularly in the franchise’s early days, were identical to humans was because of limitations in budget and special effects. But that doesn’t have to be the end of it! We can craft intricate theories, partly based on things we’ve learned in other iterations of the franchise, to go back and explain these things. To me at least, the idea that races like the Iotians, Fabrini, and Betans are in fact lost offshoots of humanity makes more sense than the idea that they naturally evolved to be indistinguishable from humans.
Star Trek: Lower Decks Season 2 is available to stream now on Paramount+ in the United States, and on Amazon Prime Video in the UK and around the world. 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.
As promised, I’m back with the second and – at least for now – final part of my ultimate ’80s playlist! Think of this as “Side B” of the mix tape!
Songs from childhood tend to stick in the mind, and even now I’ll occasionally stumble across a song that I haven’t heard in decades – yet still find I can remember the lyrics. If only my memory was that good for other things! For me, songs that were popular here in the UK in the ’80s and into the ’90s play on the radio in faded memories of childhood and burgeoning adolescence; the soundtrack to forgotten car rides and the school bus, as well as rainy days stuck indoors with the radio for company.
Almost every popular musical trend builds on what came before, and that’s certainly true of music in this era. The guitar-driven rock & roll of the ’50s and ’60s gave way to more experimental music and broader instrumentation in the latter part of the ’60s and into the ’70s, and the development of synthesisers and electronic instruments gave some bands and artists in the ’80s a distinctive, modern sound. But many acts still retained a guitarist, bassist, and drummer at the core, even while they were happy to experiment with a broader range of instruments.
It’s time to rock out again!
The ’80s also saw the rise to popularity of entirely new genres of music – particularly hip-hop and rap. As had happened decades earlier with the blues, this musical style of African-American origin exploded in popularity around the world, and even when artists weren’t jumping headfirst into the genre, the influence of these new genres grew and could be felt in many different popular tracks by the end of the decade.
Musical taste is perhaps the single most subjective and personal thing there is! Even among fans of the same artist or band, individuals will disagree over which song is the best. Sometimes you can’t quite put your finger on what it is that makes a song enjoyable or not. All of my picks for this playlist are tracks I’m happy to listen to over and over again, but if you don’t agree that’s okay! We all like different songs for different reasons, and I doubt any two people would ever put together the same collection of tracks.
Just like last time, all of the songs below are embedded YouTube videos, and availability may vary by country. If you can’t listen to one or more of the songs below for some reason, I daresay most will be available to stream elsewhere.
Track 1: Jessie’s Girl – Rick Springfield (1981)
Rick Springfield had been a semi-successful musician in his native Australia in the late ’60s and early ’70s before transitioning to acting. By 1981 he’d had a handful of television appearances – including in a guest-starring role on the pilot of Battlestar Galactica – before signing on with soap opera General Hospital. That same year, Springfield recorded the album Working Class Dog, from which Jessie’s Girl was the lead single.
Springfield would deservingly win a Grammy for Jessie’s Girl, and though the song took a few weeks, it eventually reached the number-one spot in the United States. Jessie’s Girl is a mid-tempo rock song about unrequited love, and is almost certainly Rick Springfield’s best-remembered hit.
Track 2: Diamonds on the Soles of Her Shoes – Paul Simon (1986)
What I’m really saying with this inclusion is that you should listen to the entirety of Paul Simon’s 1986 South African-inspired album Graceland! That album was the first I ever bought on CD for myself shortly after getting a CD player. Paul Simon went to South Africa to work and record with black musicians at a time when the apartheid regime was trying to prevent any African music being heard. Diamonds on the Soles of Her Shoes is perhaps the one track on Graceland which best showcases Ladysmith Black Mambazo – Simon’s main South African musical collaborators.
Graceland was a controversial album at the time because of Simon’s decision to break the boycott of apartheid South Africa. But the way in which he brought black African music to mainstream attention, working around the oppressive regime, I think more than makes up for that. Graceland is one of a very small number of albums I can think of where every single track is worth a listen. It’s a beautifully-crafted record, undoubtedly Paul Simon’s best work. And Diamonds on the Soles of Her Shoes is a fantastic song.
Track 3: Walk This Way – Run DMC ft. Aerosmith (1986)
A decade after its original release, hip-hop group Run DMC chose to cover Aerosmith’s hit single Walk This Way. Lead singer Steve Tyler and guitarist Joe Perry returned to perform with the group, and Walk This Way became far bigger and more memorable than it had ever been in its original incarnation.
Rock and hip-hop don’t always make for natural bedfellows, yet Walk This Way just works. The bassline and beat of the original song flow perfectly into Run DMC’s style of hip-hop. The song helped relaunch Aerosmith’s flagging career, too. But for me, Walk This Way is symbolic of people from very different backgrounds coming together.
Track 4: We Didn’t Start The Fire – Billy Joel (1989)
There aren’t many songs I can think of that are lyrically similar to Billy Joel’s 1989 hit We Didn’t Start The Fire. Joel uses the song to run through a series of historical events, beginning with Harry Truman’s 1948 election win and ending with the Tiananmen Square protests that happened earlier in 1989. If he’d waited a few more weeks he could’ve included the fall of the Berlin Wall!
Billy Joel has an eclectic mix of styles in his back catalogue, from pop-rock tracks like Uptown Girl to slower pieces like Piano Man. We Didn’t Start The Fire is very much in the first category, but it’s also a unique track insofar as I really can’t think of any others quite like it. The fast-paced lyrics cover many of the important events of the preceding four decades in less than five minutes.
Track 5: Glory Days – Bruce Springsteen (1984)
I didn’t really appreciate Glory Days until I got a little older. The song, included on Springsteen’s 1984 album Born in the USA, recounts a man reminiscing about his early life and how the “glory days” of some of his high school friends came to an abrupt end. We all look at the past with rose-tinted glasses sometimes, and I think there’s something very relatable about Glory Days as a result.
Bruce Springsteen is another artist who’s made an eclectic mix of records over the years! Though best-remembered for albums like Born in the USA and his output in the ’70s and ’80s, one of my favourites is his folk-inspired 2006 album We Shall Overcome: The Seeger Sessions! But to get back on topic, Glory Days is a fantastic song, with a happy, up-tempo sound that stands in contrast to its bittersweet lyrics.
Track 6: Heaven – Bryan Adams (1985)
Heaven is an absolutely beautiful song that showcases Canadian singer-songwriter Bryan Adams’ distinctive voice. It’s been covered multiple times – including a piano version that was popular here in the UK in the early 2000s – but the original slow-tempo pop-rock version remains the best.
The song was co-written by Adams and his writing partner Jim Vallance in 1983, after Adams had been on tour with the rock band Journey. The love song’s lyrics are very sweet, and fit the music perfectly. It would go on to top the charts in the United States and become a worldwide hit.
Track 7: Walking on Sunshine – Katrina and the Waves (1985)
Is there a better feel-good, get-up-and-dance song than Walking on Sunshine? If there is I haven’t heard it! The song was recorded in the UK, and it was here where the band found its greatest success. I’d always assumed Walking on Sunshine had been a number-one chart-topper, at least here in the UK, but it actually peaked at a lowly number eight in the charts on its original 1985 release.
It isn’t unfair to say that Walking on Sunshine’s popularity has grown over the past thirty years, though. It’s often included on compilation albums, on television, and even in advertisements – making Katrina and the Waves a decent amount of money in royalties, no doubt!
Track 8: Enola Gay – Orchestral Manoeuvres in the Dark (1980)
A powerful anti-nuclear song with a distinctive sound, Enola Gay was the right song for a moment in time. Going very heavy on keyboard and synthesiser sounds, Enola Gay is, in some respects, the embodiment of early-80s synth-pop. That sound and style has, for many folks, defined what they consider to be “typical ’80s music,” helped no doubt by modern depictions of the decade tending to favour that kind of sound as a way of setting the scene.
Enola Gay was banned by some radio and television stations in the UK as it was considered a “gay anthem,” perhaps because of the word “gay” in its title. Interestingly, there really isn’t much evidence that the song became a big hit in the gay community in the UK at the time, so this is just another example of the homophobic media establishment overreacting and failing to understand what was going on! The title is, of course, a reference to the aircraft named “Enola Gay” which dropped the first ever atomic bomb in 1945.
Track 9: Goody Two Shoes – Adam Ant (1982)
After a series of hits with his band, Adam and the Ants, in the late ’70s and early ’80s, Goody Two Shoes was Adam Ant’s first solo record. If the names weren’t confusing enough, several of his bandmates from Adam and the Ants joined in for the recording of the song – and it was even erroneously attributed to the band in some areas upon its 1982 release.
The up-tempo new wave pop song is very much in line with Adam and the Ants’ earlier singles, but there’s something about the track that elevates it and makes it – in my considered opinion, at least – his best work to date.
Track 10: Never Gonna Give You Up – Rick Astley (1987)
Years before anyone conceived of the idea of “Rick-rolling,” some of us were enjoying Rick Astley’s 1987 chart-topper on its own merits! Never Gonna Give You Up was the best-selling single of that year here in the UK. I later rediscovered it on an ’80s compilation album sometime around the turn of the millennium, and it was giving me the nostalgic feels even then!
We can’t talk about Never Gonna Give You Up without acknowledging the “Rick-rolling” phenomenon. How did that get started? It’s one of those incredibly random internet jokes that people all over the world share. It doesn’t make any sense – but then again it doesn’t have to. It’s harmless fun, and gave a great song a new lease on life in the new millennium. Never Gonna Give You Up recently surpassed one billion views on YouTube!
Bonus Track: Star Trek II: The Wrath of Khan Theme – James Horner (1982)
Though arguably not as “classic” as The Original Series theme or the theme from The Motion Picture which would be repurposed for The Next Generation, James Horner’s first ever film score was fantastic. The main theme for The Wrath of Khan incorporates parts of The Original Series theme, but takes things in a completely different direction. It’s an adventurous, inspiring piece of music – that takes a dark twist right at the end.
So that’s it for now!
This was the second part of my ultimate ’80s playlist. Soon I’ll move on to the 1990s, so I hope you’ll stay tuned for that. For me this has been a fun nostalgia trip! Maybe you think so too, or maybe you’ve discovered a brand-new song you hadn’t heard before. Either way, I hope you enjoyed this look back at some of my favourite songs from the 1980s.
All songs on the playlist above are the copyright of their respective record company, studio, distributor, composer, artist, etc. All videos courtesy of YouTube. Videos are merely embedded here, and are not hosted by Trekking with Dennis. For copyright claims, please contact YouTube directly. 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 Seasons 1-2. Further spoilers are present for the following Star Trek productions: The Original Series, The Next Generation Season 4, Discovery Season 1, and Picard Season 1.
Prior to the broadcast of Where Pleasant Fountains Lie, there was arguably more hype than for any other Lower Decks episode so far this season. The return of actor Jeffrey Combs to the Star Trek franchise – he’d previously played Shran in Enterprise and Weyoun in Deep Space Nine, among other characters – was something that the marketing team were keen to show off on social media, and with this episode having been teased earlier in the season, as its broadcast approached there was certainly a degree of hype.
Considering how a couple of previous returning actors’ roles landed – John de Lancie in Season 1’s Veritas and Robert Duncan McNeill in We’ll Always Have Tom Paris just a few weeks ago – I wasn’t really sure what to expect. But I was pleased to see that Combs’ character of Agimus – an evil computer – was handled well and played a significant role in the story.
Agimus – the evil computer!
I didn’t know that the one thing Lower Decks had been missing was a spotlight episode for chief engineer Andy Billups, but you know what? It worked far better than I would’ve expected. The rest of the senior staff – Captain Freeman, Commander Ransom, Dr T’Ana, and Shaxs – have had aspects of their characterisations and backgrounds explored gradually, with little tidbits dropped in previous episodes. Billups didn’t have much of that; the closest he’d gotten to a spotlight moment until this week was in Season 1’s Crisis Point, where he was part of Rutherford’s story.
Billups was certainly the least well-known of the senior staff, despite being Rutherford’s boss. Lower Decks just hasn’t spent as much time in engineering as it has in other areas of the ship, so he’d been a background presence at best for much of the show’s run to date. This week’s episode felt like Lower Decks was almost trying to make up for lost time by dropping Billups into a major plotline that not only gave him a starring role but that also explained much of his background.
For the first time, Billups got a starring role.
One thing that I liked about this storyline is that it was a riff on the old maxim “don’t judge a book by its cover.” Billups, in his earlier appearances, seemed to be a bland, uninteresting human, probably from North America. He was dedicated to his work in engineering, and though he was on friendly terms with others on the senior staff, we never really saw him as a party animal or even having a close friendship. He seemed to be a pretty plain, uninteresting character – and we would’ve expected his background to match that persona.
Billups’ people – the Hysperians – are very far removed from that expectation! There was something about the Hysperians that reminded me very much of peoples Captain Kirk encountered during both The Original Series and The Animated Series; a throwback to Star Trek’s earlier days, where planetary societies based around ancient Rome or 1920s Chicago were commonplace. These kinds of stories and civilisations had faded from Star Trek by the time of The Next Generation, and it was a pleasant surprise to see Lower Decks bringing them back.
The Hysperians felt like they could’ve been a people encountered by Kirk in The Original Series.
The aesthetic used for the Hysperians and their vessel was unique, too. Inspired by a “renaissance fair” – as the episode noted – there was something fun and whimsical about their appearance. On the surface, factions like the Hysperians may seem “less realistic” than others in Star Trek, but I’d actually argue the opposite. It seems perfectly reasonable to me to think that future groups of humans might settle colonies and establish societies based around mutual likes – it’s basically an extension of online communities where people share what they have in common.
The design of the Hysperian cruiser was neat, and both inside and out it reflected their “renaissance fair” society. The hallways being lined with huge portraits reminded me of more than one stately home that my parents dragged me to visit as a child, and I liked that the Hysperians re-named their ship’s systems to match their culture.
The Hysperian starship Monaveen.
Billups’ storyline raised a very interesting question. Apparently, in addition to (or as part of) their medieval-fantasy culture, the Hysperians have a strange attitude toward sex and sexuality. Losing one’s virginity seems to be a big deal in their society – at least among the aristocracy. (Are all Hysperians aristocrats? Or are there peasants to go along with the knights and castles? An interesting aside!) So Billups had been avoiding losing his virginity as doing so would mean he would have to become king.
Given that Billups was incredibly reluctant to have sex – to the point that he had to be tricked into it – and that he seemed uncomfortable both before being taken to his quarters and immediately prior to getting into bed, I wonder if Billups might be asexual? Certainly this is one of the most overt references that the Star Trek franchise has ever made to asexuality, and although parts of it were – somewhat disappointingly – played as a joke, as someone who is asexual myself I find the whole thing particularly interesting.
A significant part of the story revolved around Billups’ unwillingness to have sex. Is he asexual?
Many asexual people – myself included – have had sex. This can be for a variety of reasons: societal pressure, the lack of education or awareness of asexuality, and the desire to appear “normal,” among many others. Because Billups seemed so genuinely uncomfortable at what would’ve been his first time, and that he’d made it to adulthood without ever losing his virginity, I’m wondering if we could make that inference. Billups chose to prioritise his work and his love of Starfleet over having sex, at any rate, so sex is clearly not a high priority for him.
We need more positive portrayals of asexual people in all forms of media – as well as portrayals of LGBT+ people in general. Though there were some issues with the way Billups’ role in the story was handled when viewed through that lens, such as how his apparent impotence was being played as a joke, I want to give Lower Decks credit for tackling this kind of story. Some folks might choose to attack the show for going down an overtly sexual route for part of this week’s story – particularly in light of the “adult content” controversy that blew up in the aftermath of Mugato, Gumato recently – but I’m honestly just pleased to see anything tangentially related to asexuality appear!
I can strongly relate to how Billups was feeling during this sequence.
There is also a second dimension to this, and it’s one Star Trek has tackled recently. By attempting to trick Billups into sex, the queen and the other Hysperians were essentially forcing him into a sexual act that he couldn’t consent to. Billups also made it clear on several occasions that he categorically did not want to have sex. There’s a word for forcing someone into sex or tricking them into it under false pretences: rape.
Ash Tyler’s portrayal in Star Trek: Discovery, particularly in the latter part of Season 1, was a very powerful analogy for male victims of rape and sexual assault. Though the way Billups’ sexual encounter was handled in Lower Decks was very different, the premise is comparable. Star Trek has never shied away from tackling these tough topics, but Lower Decks didn’t really provide much closure in that regard. Rutherford’s timely arrival prevented Billups from being tricked into having sex, but there were no consequences for his mother and the Hysperians who tricked him. The whole thing was played very light-heartedly, and when we compare this to the powerful Ash Tyler storyline in Discovery it feels as thought it comes up short.
Parts of this story were played for comedic effect, seemingly disregarding the disturbing, dark implications of tricking someone into having sex.
There was a distinct and out-of-place light-heartedness to the way the Hysperians and their queen were portrayed, both before and after their most recent attempt to trick Billups into a sexual encounter that he absolutely did not want to have. Lower Decks played some of this for laughs, and while humour is definitely something subjective, the jokes obscured some pretty dark and serious subject matter. Society as a whole needs to do better with helping and believing victims of sexual abuse and sexual assault, and male victims can be particularly invisible. Some male victims of sexual crimes have even reported being mocked and laughed at by law enforcement when they attempted to report what happened and seek help. Portrayals like this one don’t help the mindset that “men can’t be victims.”
Shelving that side of the story for now, we come to Rutherford. He played a role on this side of the story, but parts of it felt a little out-of-character. Though his conversation with Tendi at the beginning of the episode, in which he shared his reluctance to take on the assignment and work on a different ship, set up her devastation later on when she felt she’d pushed him to take an assignment that led to his death, the idea that Rutherford of all people wouldn’t jump at the chance to work on a fancy new starship engine for a change just didn’t seem to fit.
Though this worked as part of the story, it felt out-of-place for Rutherford to be reluctant to work on a fancy starship engine.
Rutherford’s death always felt like a fake-out, even though the episode put us through several minutes of seeing other characters reacting to his supposed death. The way Dr T’Ana informed Tendi was sweet, and I wish we could’ve seen more of the usually-grumpy doctor showing a softer, more sympathetic side for a change. Tendi of course reacted very strongly and with emotion – and the performance by Noël Wells was fantastic at that moment.
In light of Rutherford’s memory loss at the end of last season not really manifesting in a major way this season, and particularly after Shaxs came back from the dead in unexplained fashion, Rutherford was clearly not in any danger. I don’t even think that Lower Decks wanted to convince us as the audience that he was really dead, even though the characters went along with it at first. It wasn’t exactly a waste, as it set up the conclusion to the story quite well, but I’m not really sure what to make of it.
Rutherford’s death always felt like a fake-out.
Rutherford being “dead” obviously hit Tendi the hardest. And even after he was shown to be alright, she was still very clearly affected by the experience. We might yet see some consequence of this in a future story; Tendi seemed very nervous and might try to interfere in a future story if she thinks it’ll help save Rutherford’s life. But that’s just speculation – it’s just as likely this whole thing will be forgotten as Lower Decks moves on to new stories in future.
Tendi and Rutherford spoke about getting him out of his comfort zone at the beginning of the episode. Though I stand by what I said earlier about Rutherford’s reluctance to work on a new ship being out-of-character, as a concept I liked what Tendi had to say. It can be important for everyone to push themselves and try something new. It can be something work-related, learning a new skill, or even visiting a different place for the first time. Though this wasn’t exactly the core of the story – and Tendi expressed regret when she thought Rutherford had been killed – the message itself is worth paying attention to for anyone who feels like they’re settled and haven’t tried anything new or different for a while. It’s very unlikely to end as explosively as it almost did for Rutherford!
There’s a lesson in getting out of one’s comfort zone.
On the other side of this week’s story were Boimler and Mariner, paired up once again for a mission aboard a shuttlecraft. After Agimus had been taken into Federation custody at the beginning of the episode, the duo were assigned to transport it (him?) to the Daystrom Institute for safekeeping. I liked that the Daystrom Institute was name-dropped here, as it has recently appeared in Star Trek: Picard. Dr Jurati was a scientist who worked there at the beginning of Season 1. The Daystrom Institute has appeared in other iterations of Star Trek as well, and was named for Dr Richard Daystrom, a computer scientist who appeared in The Original Series.
Jeffrey Combs has always played devious, villainous characters exceptionally well in Star Trek, and Agimus was no exception. Combs’ distinctive voice gave the evil computer a genuinely menacing quality, as each syllable dripped with malice and their attempts at manipulating Boimler and Mariner were obvious.
Agimus fantasised about creating murder drones and ruling an entire planet.
Agimus picks up another trope from The Original Series – computer-dominated societies. Lower Decks already brought back Landru at the end of Season 1, but there are other examples of this, such as Vaal and the Controller of Sigma Draconis VI. Again, this was a welcome step back to what felt like a story that could’ve been part of the franchise’s early days. Agimus is very much in line with the way other evil computers had been depicted – but elevated by Jeffrey Combs’ portrayal.
Though this side of the story teed up some Mariner-versus-Boimler tension, I was glad that the way that particular storyline ended showed Boimler in a positive light. Boimler has grown a lot since we first encountered him at the beginning of Season 1, and particularly after the lessons he’s learned this season about maintaining his close friendship with Mariner, if he had succumbed so easily to Agimus’ manipulations it wouldn’t have felt right.
Boimler outsmarted Agimus – without telling Mariner what he was doing.
But Boimler certainly had Mariner and Agimus fooled! I like seeing a more confident Boimler following his jaunt aboard the USS Titan. There must’ve been a temptation to reset the character after he returned to the Cerritos, but realistically an experience like that would have changed him. We see this change manifest in Boimler becoming more confident in his own abilities and more secure in his knowledge – even to the point that he surpasses Mariner in this particular story, figuring out a solution before she could and seeming to go along with Agimus only to gain access to the malignant computer’s battery.
It was a well-executed story, and one which didn’t come at the expense of Mariner. Though she was understandably unaware of what Boimler was doing, she wasn’t portrayed as being naïve or stupid in order to give Boimler his surprise ending. She underestimated him – believing him not to be ready for a different away mission. But we could also interpret her meddling as a desire to keep Boimler on the lower decks with her. Having lost him once, she isn’t prepared to lose him again. Whether she’s aware of that as she’s going behind his back isn’t clear – and I suspect that this side of their relationship will have to be explored again at some point. But this time, in the context of this story, it worked well.
Boimler fired his phaser at Mariner – but it was all a deception to trick Agimus and allow them to be rescued.
Their shuttle crashing on a desert planet reminded me of The Next Generation fourth season episode Final Mission. In that story, Wesley Crusher and Captain Picard would similarly find themselves crash-landing on a desert world, and having to survive with a somewhat hostile companion. That episode would also mark Wesley’s departure as a permanent cast member (though he did return to The Next Generation for a couple of other stories). Whether intentional or not, it was neat to feel that Lower Decks was channelling that episode at points.
Agimus made for a difficult adversary for Boimler and Mariner to overcome, especially considering the crash severely damaged their shuttle. The stakes were raised higher by the damaged replicator and the loss of their emergency rations to an alien monster. It seems to have been around this point that Boimler formulated his plan! The joke about the replicator only being able to serve up black liquorice was also funny – as was the plant that also tasted of liquorice. I guess it must be an acquired taste – though I’ve always liked liquorice personally.
What’s so bad about black liquorice?
Mariner and Boimler’s trek across an unforgiving landscape also presented a comparison to their first away mission together in the second episode of Season 1: Envoys. That story saw Boimler at his most anxious and out-of-place; the contrast with the confident way he executed his plan this time around could not be more stark. The fact that both episodes saw an away mission aboard a shuttle go awry is interesting – Lower Decks is almost being poetic!
After their rescue, Boimler and Mariner returned to the Cerritos aboard a shuttle crewed by officers in the black-and-grey uniform style that Boimler wore aboard the USS Titan. Presumably these officers were from another ship, but it was interesting that they weren’t just picked up by the crew of the Cerritos. It was funny to see Agimus in their “prison” – surrounded by dozens, if not hundreds, of near-identical evil computers. Apparently out-of-control AI is a huge problem for the Star Trek galaxy… no wonder the Romulans in Star Trek: Picard were so concerned!
Agimus in prison, surrounded by dozens of other evil computers.
This week’s episode had two stories that both felt well-paced. Neither story felt rushed, and the number of characters present felt about right. Though the two stories went in completely different directions – literally and metaphorically speaking – both harkened back to The Original Series in ways that were very clever. It’s been a while since Star Trek produced an episode that felt so connected to the planets, peoples, and storylines of its first iteration, so that was fantastic.
Though there were some issues with the way Billups’ story was handled, I maintain that he could be asexual. At the very least there was an interesting asexuality-adjacent storyline this week, and it’s the first time that I can recall that Star Trek has come so close to touching on this subject. It wasn’t perfect, for the reasons I laid out above, but it was something – and there’s power in almost any form of positive representation, even when things aren’t perfect. If you’re interested to read my story about coming to terms with being asexual, you can find it by clicking or tapping here.
Mariner and Boimler had an exciting story too, and Jeffrey Combs put in a wonderful performance as the antagonistic Agimus. It was great to welcome him back to Star Trek – and to see solid evidence of Boimler’s growth as a character.
Star Trek: Lower Decks Season 2 is available to stream now on Paramount+ in the United States, and on Amazon Prime Video in the UK and around the world. 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.
Don’t worry, there aren’t going to be any big spoilers for the story of Kena: Bridge of Spirits this time. I just wanted to take a moment to share my first impressions of one of the games I’d been looking forward to all year!
Unfortunately, Kena: Bridge of Spirits is an Epic Games exclusive on PC, meaning I had to finally break my year-long streak of avoiding the company. Long story short, I had a falling-out with Epic Games last year due to getting locked out of my account, and I had hoped to avoid spending money with them again. But Kena: Bridge of Spirits proved just too tempting, so I succumbed and bought the game. It had been one of my most-anticipated games of the year, so I was content to make an exception.
Promotional artwork for Kena: Bridge of Spirits.
Kena: Bridge of Spirits is the debut game from Ember Lab, a studio which originally worked on animation and CGI for film and television. Considering this is their first ever game, and that they’re a small studio, I’m absolutely blown away. Kena: Bridge of Spirits is incredible, and I’d be impressed if it had come from a major developer with the backing of a huge publisher. But knowing that the title is the culmination of years of hard work by a small, independent team working on their first ever interactive project leaves me speechless.
Kena: Bridge of Spirits is the debut game from Ember Lab.
In the couple of hours I’ve spent with Kena: Bridge of Spirits so far, the game plays beautifully. There aren’t any loading screens getting in the way of gameplay, platforming is intuitive and smooth, combat is fast-paced and exciting, the transitions from gameplay to cut-scenes and back again are well-integrated, and I haven’t found so much as a single bug, glitch, or visual goof.
Kena hangs from a ledge during an early platforming section.
Sticking with gameplay, Kena: Bridge of Spirits offers some incredibly fun adventuring. Kena has all the moves you would expect for this kind of game: she can run, jump, double-jump, and climb ledges. The Rot – Kena’s adorable companions – have a range of abilities, the most useful of which include being able to move objects and obstacles to clear a path or open up a new area for Kena, as well as occasionally pointing the way so she doesn’t get lost.
The Rot moving a platform for Kena to jump on.
Gameplay is all very intuitive, with the default controls and buttons doing everything you’d expect. The design of the game’s early levels shows a lot of thought and planning; it was always clear which path to take and I never felt like Kena was lost. There were some paths that led to dead-ends, but these seem to be areas that can be unlocked or expanded later in the game, so I should be able to return to them later.
Kena in the game’s opening level.
Kena: Bridge of Spirits isn’t heavy on dialogue, and while it was certainly pretty clear what to do and where to go, I didn’t feel the game was holding my hand and dragging me down a narrow path. To give one example, at an early point in the game the camera panned wordlessly over three vulnerable spots that Kena had to take out before she could defeat the main boss during a fight. It was obvious that these three spots needed to be hit first, but the game didn’t say so explicitly, it merely pointed me in the right direction then left me to fight the battle.
Kena takes damage in an early fight.
Combat feels great in Kena: Bridge of Spirits. Kena has a couple of primary attacks and one defensive shield. Using her shield at just the right moment can lead to a defensive parry, and she has a light and heavy attack. The Rot can also play a role in combat, but I won’t spoil exactly what they can do. Combat is fast-paced, but not so blindingly fast as to feel overwhelming. I also felt that the number of enemies present at each encounter was about right as well.
Kena performs a heavy attack on a monster.
The game offers three difficulty options at first, with a fourth “master” difficulty that unlocks after completion. For players who like a very tough challenge, this adds replayability. I’m categorically not a “hard mode” gamer by any stretch, so I’ve been playing on the easiest difficulty setting. I found that to be quite enough for my skill level! Difficulty settings change the recharge rate of Kena’s Rot companions, which will affect their ability to participate in combat encounters, and also ramps up the aggressiveness and damage of enemies. Increasing the difficulty doesn’t add additional enemies into the game.
Kena is hit by a monster and flies backwards!
Kena: Bridge of Spirits is without a doubt the most visually stunning game I’ve played all year. After traversing the game’s opening area, Kena climbed a staircase overlooking a mountain and valley, and I was blown away. I literally put down the control pad and said “woah” out loud! How many games – ever – have made me say “woah?”
I had to stop for a moment when I saw this incredibly beautiful vista so I could take it all in.
The animation and visual effects work are absolutely beautiful. Kena: Bridge of Spirits has a bright colour palette, with sunlit areas that are positively glowing. Shades of blue, yellow, white, and particularly green present a striking contrast with the “corrupted” areas of the map, which feel depressingly dark with faded greys and browns and flashes of an evil, glowing red. Ember Lab’s past as an animation studio absolutely shines through, and the animators’ work with the game’s colours is pitch-perfect.
The contrast between the verdant green living areas and the grey-brown corrupted areas is striking, and the game uses colour to great effect.
Kena: Bridge of Spirits has an aesthetic that wouldn’t be out of place in a big budget animated film from the likes of Pixar or Dreamworks. The game doesn’t prioritise gritty realism over beauty, and what results is an astonishingly pretty animated look to both its characters and environments. Kena herself is a lovingly-crafted protagonist, and everything from her hair and outfit to her magic staff just looks fantastic.
Kena – the game’s protagonist and player character.
Other characters and Kena’s Rot companions also look visually impressive. The Rot – despite their somewhat offputting name – are utterly adorable critters. Their big eyes and cute faces make them incredibly sympathetic, which is important! Their fearful nature means they tend to scatter and hide at the beginning of combat encounters, and in another game I feel like that mechanic could become annoying. But because of just how darn cute the Rot are I actually found it spurring me on! How dare those evil monsters scare my poor little Rot!
Kena is accompanied on her adventure by the Rot. And they’re adorable!
Oh, and the Rot get to wear hats. Cute, adorable little hats. The hats can be purchased using gems that are found throughout the game world – something that should be familiar to anyone who’s ever played a game like this one. One thing I liked about the way Kena: Bridge of Spirits handles collecting these gems, though, is that Kena never destroys or damages property – even in abandoned houses or ruins. She carefully opens a chest or barrel, collects the gems, and then closes it again. No need to smash or break any pots!
Kena collecting gems from a chest.
There’s also a map, as you might expect. The map was easy to navigate and seems to highlight significant points and quest-relevant locations but without being overwhelmed. Some games have maps that you can barely read for all the pins and markers, but Kena: Bridge of Spirits has a well-designed map that’s legible, useable, and fits right in with the rest of the game from an aesthetic point of view.
The in-game map is useful.
When Kena puts on a spirit mask the game enters a static first-person view. This mode allows you to spot Rot, as well as certain quest-specific items. It’s a riff on the “detective mode” present in several other games, but it’s handled in such a way as to feel like a unique experience for Kena: Bridge of Spirits.
Kena putting on a spirit mask.
And that last sentence could summarise my thoughts on the game. Kena: Bridge of Spirits takes established tropes of the adventure genre but gives them its own presentation and sets them up in a brand-new world. The gameplay is fantastic, and anyone who’s played these kinds of games in the past will feel right at home. Where it truly excels is its art style and aesthetic. The designers have to get much of the credit for the unique feel of Kena and the world she inhabits.
I’m having a great time with Kena: Bridge of Spirits! The game has met all of the expectations I could’ve had going in, and at least in terms of visuals it even exceeded them. I would have been impressed if this game had been produced by an established team of developers backed up by the resources of a huge publisher, but to know that it’s the first ever game by an independent studio is truly mind-blowing. Kena: Bridge of Spirits is fantastic – and I can’t wait to jump back in!
Kena: Bridge of Spirits is out now for PlayStation 4/5 and PC. Kena: Bridge of Spirits is the copyright of Ember Lab. Some promotional artwork courtesy of Ember Lab. 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 Seasons 1-2, particularly the second season episode Mugato, Gumato. There are also minor spoilers for Star Trek: The Original Series, Star Trek: The Next Generation, and Star Trek: Deep Space Nine.
This article deals with topics of sex and sexuality and may be uncomfortable for some readers.
The plan for today was to talk about new video game Kena: Bridge of Spirits. But while the game downloads (20+GB will take a while on my crappy internet connection) I thought it would be interesting to address a bubbling controversy involving Star Trek: Lower Decks.
When I watched the episode Mugato, Gumato a couple of weeks ago, the scene at the centre of this controversy barely registered. I was enjoying the episode’s central pairing of Ensigns Boimler and Rutherford, who teamed up for their first major outing of the season and I felt played off one another exceptionally well. As the two ensigns stumbled into mugato territory having escaped from an away mission gone wrong, they found themselves trapped by a pair of mating mugatoes. A third mugato appeared and seemed to be pleasuring itself by rubbing its horn, something the ensigns commented on.
This moment, which lasted only a few seconds, is at the centre of the “adult content” controversy now engulfing Lower Decks. I found the whole conversation to be quite odd, and reminiscent in some ways of the relentless attacks by people like Mary Whitehouse and the National Viewers’ and Listeners’ Association in the 1970s – the kind of reactionary, social conservative “outrage” that inspired characters like The Simpsons’ Helen Lovejoy.
British campaigner Mary Whitehouse. Picture Credit: BBC/Forge Productions via YouTube
When I watched Mugato, Gumato for the first time, I remember rolling my eyes at this moment. Masturbation jokes are pretty low-brow, and I didn’t think it was especially funny. As someone who is asexual, jokes about sex and sexuality can be uncomfortable for me, but this one wasn’t particularly. I didn’t find it hilarious, but I certainly didn’t find it offensive. In an episode that had other good jokes, a busy story, and some further development of Ensign Mariner’s character to hold my attention and interest, I simply wasn’t all that bothered about a fragment of a scene that was clearly meant to be a joke. In my original review I didn’t even consider the horn-joke worth making note of.
I’ve said before that Star Trek: Lower Decks is an animated comedy first and a Star Trek show second. Though it largely succeeds at “feeling like Star Trek” – a pretty nebulous, ill-defined concept that means different things to different people – it’s a show that very much occupies a space similar to the likes of The Simpsons, Rick & Morty, and even shows like Family Guy. Jokes like this one are thankfully infrequent, but to be expected, and after watching sixteen episodes of the show across two years, I’m surprised that some people still don’t fully appreciate that.
The sight gag at the centre of the controversy.
Humour is a very personal thing, perhaps second only to musical taste in terms of being purely subjective. A joke that one person considers hilarious will be boring or even offensive to another, and as long as comedy is well-intentioned and not punching down or deliberately picking on one group of people, I’m okay with that. I haven’t laughed at every single joke in Lower Decks just as I haven’t at every joke in other comedy shows. Humour sometimes misses the mark for all of us.
The conversation around this moment in Mugato, Gumato has taken a strange turn, though. Some fans seem adamant that this kind of sexual joke or sight gag is somehow inherently “un-Star Trek” or beneath what the franchise should aim to be. And I fundamentally disagree with that assertion. To anyone making such a claim, I want to ask: “have you ever seen Star Trek before?”
The famously non-sexual Star Trek: The Original Series…
The Deep Space Nine fourth season episode Bar Association saw the character of Rom make a comparable reference to masturbation. Oo-mox, a Ferengi term for pleasurably stimulating their ears, had been depicted in The Next Generation and Deep Space Nine as a very intimate act, so when Rom said he was performing it on himself it was meant as a joke. It wasn’t the funniest joke in that episode, but it was in keeping with Rom’s characterisation at the time and with the way oo-mox (and other sexual acts) had been presented in Star Trek.
One of the things I liked about Star Trek when I was growing up and struggling with my own sexuality was that the franchise didn’t put things like sex and relationships at the centre of every story. But even going all the way back to The Original Series, where Kirk would have romantic entanglements with a different woman almost every week, Star Trek has had this sexual dimension to it. Sometimes sex has been presented as something casual or jokey, and at other times the franchise has taken a very serious approach to sensitive topics. But to say sex has never been part of Star Trek is patently false and just ridiculous.
Rom mentioned the Ferengi “massage” known as oo-mox in the episode Bar Association.
One thing I admired about Mugato, Gumato is relevant to this discussion as well. The Ferengi poachers seen in the episode were harvesting the titular apes for their horns, then selling them on claiming the horns were an aphrodisiac. This environmental message parallels real-world poaching in Africa, where the trade in illegal rhinoceros horn is driving the species to extinction. It made sense, in that context, to see a mugato using its horn for some kind of sexual purpose.
When we compare Star Trek: Lower Decks to other animated comedies, there are far fewer of these low-brow jokes. Shows like Rick & Morty, Family Guy, and the like all lean far more heavily into sexual humour, and that’s something which is always going to be subject to taste. Personally, I prefer Lower Decks’ approach. These kinds of jokes can be funny – even to me – but the show is at its best when it finds ways to make the regular goings-on in Starfleet funny, or when it references obscure characters from past iterations of the franchise.
Mugato, Gumato had an important message about poaching for folks who could look past the jokes.
If you’re a regular reader and you saw my reviews of Lower Decks last season, you’ll know I’m not someone who would blindly leap to the show’s defence. I’m happy to criticise Lower Decks when I feel it misses the mark. For examples of that, take a look at my reviews of Season 1’s Envoys or Veritas, or even the Season 2 premiere, Strange Energies. In short, I’m not trying to defend the indefensible nor insist that Lower Decks can do no wrong.
I also feel that, as someone who is asexual, I have a different perspective on this. If the mugato masturbation joke was going to piss off anyone, it was going to be someone like me! It didn’t, because it just wasn’t that important. It wasn’t the focus of the episode, heck it wasn’t even the main focus of the scene in which it appeared. It was a throwaway sight gag that lasted all of a few seconds. The plot of the episode then moved on to other things. Like any joke, gag, or one-liner, it didn’t ruin the entire episode.
This moment just wasn’t a big deal in what was a busy episode.
People with an outside agenda are often looking for the next thing to jump on to further their cause and generate controversy, and in this case the anti-Trek folks think they’ve found a winner in Mugato, Gumato. But I’d wager a lot of them didn’t even watch the episode in its entirety before deciding this was something worth discussing, and even if they did, can we really argue that one sight gag that lasted a few seconds in a single scene was that important? Good luck if you try to argue with some of these folks, though. Their minds are made up about Lower Decks – and the rest of modern Star Trek.
If you watched Mugato, Gumato and hated that joke, that’s okay. If it spoiled the episode for you, that’s okay too. I’m not in the business of telling anyone how to feel, and with humour being something so subjective I can understand how a joke that goes over particularly poorly can ruin someone’s enjoyment. But to try to reduce Lower Decks to one insignificant gag in one episode does the series a huge disservice. It does Mugato, Gumato a disservice too, as the episode had a great central character pairing in Boimler and Rutherford and also saw a significant moment for Ensign Mariner’s characterisation.
Despite not being the star, Ensign Mariner got some decent character development in Mugato, Gumato.
I’m surprised that this has become such a big deal. It’s ironic, in a way, that the people who are most likely to use terms like “snowflake” are often the ones to become so aggressive when they encounter a joke or a television show that they don’t like. And to me, that’s what I see happening here. Something minor that’s being blown out of proportion either by folks with very short memories who’ve conveniently forgotten comparable moments in Star Trek’s past, or by folks who have a deliberate anti-Trek agenda.
I wasn’t a big fan of that sight gag in Mugato, Gumato. I thought it was pretty dumb, but after rolling my eyes at it I quickly forgot about it. It just didn’t matter that much in the context of the episode or of the series as a whole. Trying to ignore everything else Lower Decks has done across its first season-and-a-half and focus on one tiny moment in one episode is nitpicking in the extreme. That particular joke was, I would argue, out of character for the series. Lower Decks prefers a more referential style of humour, one which draws on the lore and history of Star Trek. There are other sight gags and moments of cringeworthy humour for sure, but to try to claim that this is all Lower Decks is isn’t just wrong, it demonstrates an ignorance of what the show has been and what it’s achieved.
Lower Decks is better than jokes like that, and I can understand if some folks want to tell the writers and producers that they expect a higher standard of humour. As I said, it wasn’t something I personally found funny either. But I just don’t see why this has to be such a big deal. It’s not representative of Lower Decks as a whole, and it’s not indicative of a series somehow losing its edge and trying to cater to a low-brow crowd. It was a throwaway gag in an otherwise-decent episode. I didn’t care for it, but you know what? I’d all but forgotten about it within seconds. It was only when people kept dragging it up – to the point that series creator Mike McMahan felt the need to defend it in an interview – that I felt compelled to add my two cents to the conversation.
Star Trek: Lower Decks is available to stream now on Paramount+ in the United States and on Amazon Prime Video in the UK and around the world. 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 the Star Wars franchise, including The Mandalorian Seasons 1-2, Jedi: Fallen Order, and the upcoming Obi-Wan Kenobi series.
We’ve known for a while that the upcoming Obi-Wan Kenobi series will feature Darth Vader – somehow. Hayden Christiansen, who played Anakin Skywalker in the Star Wars prequels, has even signed on to play the role, something which has excited at least some Star Wars fans. Today we’re going to consider what kind of role the Obi-Wan Kenobi series could offer to the franchise’s most iconic villain, and how the show will have to navigate a tricky situation of its own making.
Regular readers will know that I haven’t exactly been wild about many of the recent decisions taken by the Star Wars franchise. The Mandalorian, which seemed to offer such promise when it was announced, very quickly returned to the Force and the Skywalker family, and brought in a number of characters and settings that were lifted directly from the original trilogy. When Lucasfilm announced a slate of upcoming Star Wars projects last December, I felt that the franchise was doubling down on this kind of nostalgia play, unwilling to step out of the shadow of the original films and tell new stories. The inclusion of Darth Vader in the Obi-Wan Kenobi series – and indeed the very existence of the show itself – is a case in point.
Iconic villain Darth Vader is set to return to Star Wars very soon.
Regardless of what I and others may think, this is the direction Lucasfilm and Disney have chosen for the franchise. The most generous thing I could say about it is that, following the controversy generated by the sequel trilogy, they’re retreating to what they consider to be safe, comfortable ground for the foreseeable future. Returning the franchise to characters fans know and (mostly) love may be indicative of a franchise aiming for a grade C – a basic pass – but perhaps after the controversies of recent years, the higher-ups think that will be good enough.
Although the decision to return to classic characters may seem to be the safe path in the aftermath of the sequels, it’s not one that is free from danger. Darth Vader and Obi-Wan Kenobi may indeed prove to be bankable characters – along with the likes of Boba Fett in his upcoming spin-off – but fans won’t forgive Disney and Lucasfilm if the way these characters are used undermines their previously-established arcs.
What role will Vader play in the upcoming series?
When it comes to Darth Vader’s inclusion in the Obi-Wan Kenobi series, to me the single most important thing is that the two characters simply can’t be permitted to meet. A New Hope was their first face-to-face meeting since their duel on Mustafar, and were they to meet in the series it would seriously undermine the power of that moment.
We could talk at length about the failures of the prequel trilogy – and I have in the past – but to me their most egregious fault was the harm done to the character of Darth Vader. In the original films we’d learned all we needed to know about this character – he had once been good, then fell to the dark side, but had enough residual love for his son to be ultimately redeemed in the moments before his death. He was an intimidating villain, but one we could feel a pang of sympathy for. Seeing him as a child and a whiny teenager detracted from that; his background was over-explained.
I would argue that we didn’t need to see Anakin as a child and young man to understand Darth Vader in the original films.
Vader has already been undermined by the prequels, and it’s difficult to see him in the same frightening way as I did on first watching the Star Wars films in the early 1990s. But throwing him into a face-to-face meeting with Obi-Wan years before their iconic duel aboard the Death Star would rob the original film of one of its most significant moments. It would feel like cheap fan-service and accomplish nothing.
There are ways for Darth Vader to play a role in the new show’s story – even a major role – without having him and Obi-Wan meet. The show is set at least a decade after the events of Revenge of the Sith, meaning that Darth Vader’s role as the second-in-command of the Empire is well-established by this point. He’s a senior leader who answers directly to the Emperor with his own dedicated Stormtrooper corps, and has spent much of his time chasing surviving Jedi and enforcing the Emperor’s rule on wayward systems.
More than a decade after the events of Revenge of the Sith, Vader’s role in the Imperial hierarchy should’ve solidified.
We also know that Darth Vader has an intense hatred of the planet Tatooine. Obi-Wan chose the planet for his and Luke’s hiding place specifically for that reason, so Vader shouldn’t set foot on the planet for the entirety of the story. And really, Obi-Wan shouldn’t leave the planet either! It was strongly suggested in Revenge of the Sith and the original trilogy that he and Yoda wouldn’t leave their respective exiles, and Luke Skywalker seemed to have known “Old Ben” for his entire life.
This was something that led me to be sceptical of the Obi-Wan Kenobi series from the outset; how much of an adventure can “Old Ben” have within a few miles of Mos Eisley and his desert hut? I assume, though, that he will ultimately leave the planet at some point – it would be a pretty dull series otherwise!
What did “Old Ben” do in the years prior to A New Hope?
But if a significant portion of the action takes place on or in the vicinity of Tatooine, and Vader won’t set foot on the planet, then we have a pretty good reason for keeping the characters apart and preserving the special moment in A New Hope. But that still raises the question of what kind of role Darth Vader will have in the series.
If I were writing it, I’d use Darth Vader sparingly. He could be the overarching villain, sending out his troops or henchmen on missions for the Empire without ever having to interact with Obi-Wan personally. He might have a minor role in a couple of episodes, or he could appear toward the end of the season, with the revelation being that whoever Obi-Wan has been battling is actually one of Vader’s henchmen. This would still have to be done in a way that kept the knowledge of Obi-Wan’s survival and location from Vader, and that’s a difficult line for the series to walk.
Darth Vader with some of his loyal Stormtroopers in A New Hope.
It isn’t impossible for Darth Vader to be included in a Star Wars story in this fashion. The video game Jedi: Fallen Order did something similar – players spend much of the game facing off against the Second Sister and other forces of the Empire, only for Darth Vader to reveal himself at the story’s climax. In the case of Jedi: Fallen Order there wasn’t a pressing need to keep protagonist Cal Kestis away from Vader in the way there is in the Obi-Wan Kenobi series, but the game was better for having more original characters, at least in my opinion.
Although some prequel fans are undoubtedly looking forward to Vader’s return, I’m more interested to see what original characters the Obi-Wan Kenobi series will introduce us to. Will the titular ex-Jedi be facing off against the forces of the Empire? Presumably the inclusion of Darth Vader means there’ll be some kind of Imperial involvement in the story somehow. But I’m just as interested to see what Obi-Wan might get up to on Tatooine, outside of Vader’s reach.
Darth Vader appeared in the video game Jedi: Fallen Order.
At the end of the day, I wouldn’t have chosen to greenlight a series like this one. And if I were tasked with picking it up after it had already been greenlit, I’d have certainly kept characters like Darth Vader far away from the new show. Even though we’ve spent more time with him than we arguably needed to, Darth Vader can still be used to great effect in Star Wars, and I don’t want to say that there’s no room whatsoever for the franchise’s first and most iconic villain going forward. But the Obi-Wan Kenobi series just feels like a bad fit.
These are two characters who spent a long time apart, totally disconnected from one another for almost two decades prior to their fateful meeting aboard the Death Star. Maybe there’s a way for Obi-Wan to learn that Anakin survived and became Darth Vader – we know he was aware of his former apprentice’s identity by the time of A New Hope. Maybe there’s a way for Vader to be included in some kind of flashback, dream, or vision. But I can’t imagine that the series could get away with having the two face off against one another or have another duel. How would such a meeting end? If Vader so much as knows that Obi-Wan is alive – let alone meeting or fighting him – it undermines a key part of the original film.
The Obi-Wan Kenobi series will have to tread very carefully so as not to further undermine Darth Vader’s character and the story of the original films.
Having made this announcement and gone to a lot of trouble to include Darth Vader in the conversation surrounding the Obi-Wan Kenobi series, some fans will feel let down if Vader’s role is reduced to some kind of dream or flashback. I still think he could be included as some kind of overall villain, provided it was handled in such a way as not to overwrite anything we learned in A New Hope. But to me, this is a pretty egregious example of Star Wars skirting too close to canon for comfort. It’s not as bad as bringing Palpatine or Boba Fett back from the dead with no explanation, but it’s straying into that territory.
I’d love to say I’m excited for the Obi-Wan Kenobi series… or any upcoming Star Wars project, for that matter. At best, though, what I can muster is cautious interest. I’m curious to see what Obi-Wan got up to during the years we all assumed he was living in quiet seclusion on Tatooine. I just hope that the story doesn’t go off the rails. The decision to bring Darth Vader into the story has me more nervous than excited, and if I’d been in the room I’d have argued very strongly against it.
The Obi-Wan Kenobi series will be broadcast on Disney+ in 2022 or 2023. The Star Wars franchise – including all properties mentioned 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.
Spoiler Warning: There are spoilers ahead for Star Trek: Strange New Worlds, Star Trek: Discovery Season 2, and Star Trek: The Original Series.
Though we still haven’t seen a trailer for Star Trek: Strange New Worlds Season 1, which is on the schedule for next year, last week’s Star Trek Day broadcast finally introduced us to members of the crew of the USS Enterprise who will be joining Captain Pike. Along with Pike, Spock, and Number One, who are returning to their roles from Season 2 of Star Trek: Discovery, we briefly met six other characters.
We’ll look at each of these characters in turn to see what we can gleam and if we can figure out anything about the direction of any of Strange New Worlds’ plotlines, but first I wanted to cover an omission. Ever since Strange New Worlds was announced last year, fans had been speculating about who may or may not join Captain Pike on the Enterprise, but one character I felt had a strong chance of making an appearance was Cadet Sidhu.
Captain Pike with Cadet Sidhu in engineering.
Cadet Sidhu was introduced in the Short Treks episode Ask Not in 2019, and played a major role in that story alongside Captain Pike. Though Ask Not was primarily a vehicle for Anson Mount to reprise his much-loved role, almost any story aboard the Enterprise could’ve been invented for that purpose. To tell a story that focused on Cadet Sidhu and her being assigned to the USS Enterprise felt like a deliberate character introduction, and even though Strange New Worlds hadn’t been announced at that point, the series was clearly something that Star Trek was building up to.
I felt that Ask Not was a strong story, and that Sidhu actor Amrit Kaur put in a solid performance. It was a little surprising to see that she wasn’t part of the main cast at Star Trek Day, and while it’s still possible the character could return in some form, the inclusion of Cadet Uhura – whose role we’ll come to in a moment – seems like it’s potentially occupying a very similar space to the role that Sidhu might’ve played. Although the two characters are in different departments – Sidhu in engineering, Uhura in communications – in terms of narrative structure and character roles it seems unlikely that Strange New Worlds would have space to do justice to the stories of two cadets. If Sidhu is included, then, it seems certain that her role will be much less prominent than I’d have initially expected.
Cadet Sidhu doesn’t seem to be coming back – despite Ask Not seemingly setting her up for a role aboard the Enterprise.
Now that we’ve covered one non-appearance, let’s look at who will definitely be part of Season 1! The character about whom we know the least right now is Erica Ortegas, played by Melissa Navia. This lieutenant appears to occupy a role on the bridge, perhaps in either the helm or navigation positions in front of Captain Pike. Wearing a red shirt, however, could mean she has a role as a security officer, tactical officer, or engineer either in addition to or instead of a permanent role on the bridge.
Lieutenant Ortegas does not appear to be connected to any known Star Trek characters, either from The Original Series era or any other Star Trek production, so that speculation is really the extent of what we know! We can assume that she’s of Spanish, Latin American, or Hispanic-American origin simply based on her name and casting, which would make her the first major character in the franchise to be from one of those backgrounds.
Lieutenant Ortegas on what appears to be the bridge of the Enterprise.
Interestingly, the name “Ortegas” is not new to Star Trek. Gene Roddenberry’s original pitch for Star Trek, prior to commencing work on The Cage, included a character named José Ortegas who would occupy the role of the ship’s navigator. By the time The Cage entered production, however, this character had been changed. José Tyler (whose first name wasn’t mentioned on screen) replaced Ortegas. This subtle nod to Star Trek’s origin is incredibly sweet, and if we can infer anything at all from this connection, it could mean that Lieutenant Ortegas will indeed occupy the role of navigator on the bridge.
Up next is the other character who appears to have no connection that we’re aware of to anyone else in Star Trek: Hemmer, played by Bruce Horak. Horak was not part of the announcement of the cast of Strange New Worlds earlier in the year, so his inclusion was a bit of a surprise for more than one reason! Most interestingly, though, Hemmer appears to be an Aenar – an Andorian race first encountered in Enterprise.
It’s Hemmer time!
Most Aenar were known to be blind, and actor Bruce Horak is himself legally blind. This aspect of Hemmer’s character wasn’t discussed at all during Star Trek Day, which was a little odd considering it’s a significant step for the franchise. The character of Geordi La Forge in The Next Generation was also blind, but in his case a visor allowed him to see. Hemmer will potentially be the first blind character on Star Trek whose sight hasn’t been restored through technological means. What that means for his role aboard the ship isn’t clear, though.
Hemmer was wearing the red shirt of the security or engineering departments, and the very brief clip of him appeared to show him in a different area of the ship. Perhaps we can infer from that that he isn’t a bridge officer and may work in engineering. The Aenar in Enterprise were known to have extensive telepathic abilities, which could give Hemmer an edge when it comes to things like diplomacy or even a medical field. Hemmer is already a fascinating character, and I love the nod to Enterprise. His inclusion is a positive one for the visually-impaired, and for folks with disabilities of all kinds. Not only that, but it was done in a very “Star Trek” way – casting a character who is a member of a blind race of aliens doesn’t tread on the toes of things like Geordi’s visor and the prospect of offering a cure for blindness in Star Trek’s optimistic future.
Geordi La Forge in The Next Generation.
Now we’re coming to characters who may be a little more familiar. La’an Noonien-Singh, played by Christina Chong, shares a family name with Khan Noonien Singh (albeit with a hyphen, though that could be a mistake). It seems incredibly unlikely to me that that’s a coincidence, so the question it raises is to what extent is La’an connected to Khan? At this point in the timeline, Khan is still in stasis aboard the SS Botany Bay. He wouldn’t be encountered by the Enterprise and awakened until after Captain Kirk assumed command of the ship, so La’an seemingly can’t be a direct relation.
It’s possible that she’s a distant descendant, then. Though Khan was genetically augmented, the practice was banned after the Eugenics Wars and thus it seems unlikely that La’an could be an augment herself. However, genetic traits found in Khan may still be present after several generations and she may have increased strength or mental faculties as a result.
La’an may be in sickbay during this scene.
One storyline that could be interesting for a character like La’an is how she might want to move away from her family history. Assuming that she does have a family connection with Khan, the choice to either embrace or reject his legacy could be something we see the character struggle with at points. Some people struggle with a family name and family legacy, and this can be a source of drama in fiction. Though Kylo Ren’s story went completely off the rails in the Star Wars franchise, it began with lofty ambitions of depicting a man struggling with different parts of his family history. Perhaps we’ll see something similar with La’an Noonien-Singh.
Other than that implied connection with Khan, all we can say about La’an is that she’s also wearing the red uniform of either the security or engineering divisions. Either could be a good fit if there’s any kind of genetic legacy from Khan and his augments – a security officer with enhanced strength and endurance would have an advantage, and an engineer whose brain works faster than everyone else would likewise be an incredibly useful asset to any engineering team.
What connection might La’an have to iconic Star Trek villain Khan Noonien Singh?
Those three characters are brand-new to Star Trek – even though there are connections to the rest of the franchise. Strange New Worlds also re-introduced us to three other characters who are returning! These three all appeared in The Original Series. We’ll begin with Dr M’Benga, who appeared in just two episodes. When Dr McCoy was absent, Dr M’Benga appeared to be in charge, so he could’ve been the deputy chief medical officer by the time of The Original Series.
Though never confirmed on screen, the character’s first name was intended to be Joseph, and Dr M’Benga would’ve been born in Uganda in Africa. By the time of Geordi La Forge’s birth around a century later, an organisation called the African Confederation was known to exist, so it’s possible that Dr M’Benga may have originated from there as well. The actor taking on the role, Babs Olusanmokun, was born in Nigeria, so it’s possible that Dr M’Benga’s origin could be changed to give him a west African ancestry.
Dr M’Benga holding a padd in what could be sickbay.
The Original Series clarified one thing about Dr M’Benga – he was somewhat of an expert on Vulcan physiology having spent some time on Vulcan. It’s possible that we could see him strike up a friendship with Spock based on that, or prove useful if Spock requires medical attention. Given Dr M’Benga’s status by the time of The Original Series I’m not convinced that he’ll be the chief medical officer – if so, why would he seemingly have taken a demotion to serve under Dr McCoy a decade later?
Dr Boyce, who we met in The Cage, appeared to be a friend and confidante of Captain Pike as well as the Enterprise’s chief medical officer. It’s possible this character may yet return in some form, and that Dr M’Benga is again a deputy. Or perhaps Dr Boyce has taken a leave of absence leaving Dr M’Benga in charge temporarily. Of the returning characters from The Original Series, Dr M’Benga offers the creative team behind Strange New Worlds the most freedom. We saw him on only a couple of occasions, so his character is still largely unwritten.
Dr M’Benga in Season 2 of The Original Series – played by actor Booker Bradshaw.
Staying in sickbay, we come to Nurse Chapel. Along with Una (Number One), Nurse Christine Chapel was played by Majel Barrett during The Original Series and was a mainstay in sickbay alongside Dr McCoy. Jess Bush is taking on the role for Strange New Worlds, and presumably will share a number of scenes with Dr M’Benga. The two characters knew one another by the time of The Original Series, and even worked together to treat Spock in the episode A Private Little War.
Despite appearing in twenty-five episodes of The Original Series, as well as in The Animated Series and two films, I’d argue that Nurse Chapel is still quite an underdeveloped character open for Strange New Worlds to explore in more depth. Many of her appearances in The Original Series were as an assistant to Dr McCoy, and learning more about her as a person away from her medical duties could be something the new show does.
Jess Bush as Nurse Chapel in what appears to be sickbay.
There’s also the romantic feelings that Nurse Chapel developed toward Spock. Does she have a crush on him at this early stage? If not, perhaps the series will show how that came to be. Though I’m sure her characterisation won’t just be about that – the trope of female characters having nothing to think about but men is a tired one that needs to be retired – it could be one element among many that we see. Chapel was engaged to a man named Roger Korby by Season 1 of The Original Series, and this relationship could also be explored.
As a character that we’re at least a little familiar with, Strange New Worlds will have to tread somewhat carefully with Nurse Chapel. Though there is scope, as mentioned, to dive deeper into her characterisation and learn more about her, there are some constraints based on what we know of her from The Original Series that the show will have to respect.
Nurse Chapel in Season 1 of The Original Series.
Finally we come to the character that got many fans incredibly excited. Strange New Worlds was even trending on Twitter for a time following the reveal that Cadet Nyota Uhura will be a member of the crew. With the exception of Spock and, to a degree, Captain Pike, Uhura is the character fans are most familiar with, as she appeared in sixty-nine episodes of The Original Series, all but three episodes of The Animated Series, and all six films starring Star Trek’s original cast. She also appeared in the alternate reality Kelvin timeline films.
As such, there’s less scope to reshape or change Uhura’s character than there is for any of the others. However, as Discovery did with Spock in Season 2, there’s a lot of potential to show where Uhura came from and how she came to grow into the person we came to know and love during The Original Series. She can’t be too fundamentally different, but she can certainly start in a different place and slowly become the person we’re more familiar with. This was Spock’s journey, in some respects, in Discovery.
Cadet Uhura. We can clearly see Pike in the captain’s chair behind her, so this must be on the bridge.
We know from both her original depiction and her Kelvin timeline depiction that Uhura has a knack for alien languages. Perhaps her unique skillset is what landed her a role on the Enterprise to begin with, as it seems unlikely that a cadet would ordinarily be a regular on the bridge! In that sense we could see her akin to Hoshi Sato from Enterprise – still finding her feet on the ship, but confident in her particular field.
A young cadet or newly-graduated officer is a character archetype that Star Trek shows have used in the past to great effect. Wesley Crusher, Harry Kim, and Sylvia Tilly come to mind first and foremost, but I’d also point to Dr Bashir in his first appearances, as well as Pavel Chekov, D’Vana Tendi, and the aforementioned Hoshi Sato as great examples. These kinds of characters present a strong contrast with the more experienced members of the crew, and can offer different perspectives as a result. Not only that, but any character who’s new aboard the ship makes for a great introduction and point-of-view character for us as the audience. It’s possible that Uhura will fill this role at the beginning of Strange New Worlds.
Uhura in Season 3 of The Original Series.
Before we wrap things up we can also talk about Una Chin-Riley, also known as Number One. She’s Captain Pike’s first officer, and though we spent a little time with her in Discovery Season 2 and Short Treks, there’s still a lot that we don’t know about her. Her depiction in The Cage was as a rather unemotional, straight-laced person. In particular the Short Treks episode Q&A showed us that there is a fun side to her – and this is something we could definitely see more of. Number One seems like someone with a very professional attitude, and perhaps a very clear line between friends and co-workers. Captain Pike and Spock may have bridged that line – but who else will?
Rebecca Romijn, who plays the character, told us that Una is “way more complex” than we might expect, which is tantalising to say the least! She also said that Strange New Worlds will take the opportunity to “flesh out” the character in more detail, which sounds fantastic. Though the original portrayal – and to an extent what we’ve seen in Discovery – does act as a constraint on where the character could go, I think there’s still plenty of scope to explore who Number One is.
Number One passes Spock on what seems to be the bridge.
The uniforms have been redesigned for Strange New Worlds, with most characters sporting a V-neck variant without the high collar or much of the piping and stitching seen in Season 2 of Discovery. Number One appears to have her own unique variant with a zip collar and black undershirt, and more black or dark patches on the sides of the torso. It’s not clear why she gets a special uniform – or indeed if this is what she’ll wear most often. But it’s interesting, and makes her stand out from the rest of the crew.
Of course we also have Captain Pike and Spock returning as well – but I daresay you know at least a little about both of them already! We didn’t really learn too much more about either of them at Star Trek Day, though there was talk of Captain Pike potentially inviting members of his senior staff to his quarters and cooking meals for them. That seems like a neat addition to his character. In Discovery Season 2 we came to see Captain Pike as the embodiment of Starfleet’s values and the epitome of what it means to be a leader. I daresay that side of his characterisation will remain.
Captain Pike wearing the new V-neck uniform tunic.
When it comes to Pike, one element of his story that I’m most interested in is how he’s going to handle the knowledge of his impending accident and disability. He chose that future for himself in Discovery Season 2, and now it’s locked-in. As someone who’s disabled and suffers from a complex set of health issues, I’ve been in the position of knowing something is wrong and only going to get worse. I’ve heard bad news from a doctor, knowing there’s nothing I can do to change the outcome. Seeing how Pike will respond to being in a comparable situation has to be one of the things I’m most anticipating when it comes to his role in Strange New Worlds.
However, I’m also looking forward to spending time with Pike himself outside of that. There’s more to him than just one storyline, and we could see him, for example, attempt to make contact with Vina on Talos IV again, or furthering his friendships with Spock and Number One. I’m curious to see him interact with some of the other members of the crew, particularly those we remember from The Original Series era.
Captain Pike traded his future health for a time crystal in Discovery Season 2.
Finally we have Spock. As the character we know best, and as someone who’s been a major part of Star Trek for practically its entire history, there’s far less scope to radically change Spock. Additions can be made to his character – as we saw with Michael Burnham in Discovery – but at a fundamental level, who he is as a person is set in stone.
We may see Spock’s human and Vulcan sides in conflict in Strange New Worlds as he tries to bury his emotions. At Star Trek Day, producer Akiva Goldsman made reference to The Cage and how Spock was depicted there. How “smiley Spock” became the character we know, perhaps influenced by the loss of Michael Burnham, could be one element of his character that the new show will explore.
Spock aboard the Enterprise.
I think it’s more important for Spock to stay true to his past characterisation than it is for any of the others. Spock has appeared in The Original Series and its films, The Next Generation, and the Kelvin timeline films, and was a major character much of the time. There is still scope to explore unknown aspects of his character – and we could see, for example, how or why he came to have a falling-out with Sarek – but generally speaking this is the character that Strange New Worlds has to be the most careful with.
Production has now finished on Season 1 of Strange New Worlds. Though I fully expect a second season is already being worked on behind closed doors, there’s been no official announcement as of yet. If the show follows a similar pattern to Discovery and Picard, it might not be until the first season is about to premiere that we’ll learn a second is going to happen. Regardless, I think it’s a safe bet right now that, after all the effort and work that’s gone into Season 1, Strange New Worlds won’t just run for a single season!
The cast of Strange New Worlds Season 1. Photo Credit: Rebecca Romijn on Twitter.
Promising a return to a more episodic format, and bringing back Captain Pike and Spock after their excellent roles in Season 2 of Discovery, Strange New Worlds was already high up on the list of shows I’m most excited for. But I have to say, after seeing the casting announcements (and, perhaps, because Picard Season 2 has dropped down a little) it’s now officially right at the top! 2022 can’t come soon enough, to be honest!
Each of the new characters look genuinely exciting and interesting, and the series seems to be doing a good job at walking the line between staying true to Star Trek’s past and carving out its own niche. That isn’t always going to be easy, and the producers have certainly taken on a challenge by bringing back fan-favourites like Uhura. But everything I’ve seen and heard fills me with confidence that Strange New Worlds is going to be utterly fantastic. I cannot wait to see the show when it premieres next year.
Star Trek: Strange New Worlds will be broadcast on Paramount+ in the United States (and other regions where the platform is available) in 2022. Further international distribution has not yet been announced. The Star Trek franchise – including Strange New Worlds 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.
Trekking with Dennis 