Star Trek: Picard theories – week 0

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1 and the trailers and teasers for Season 2. Spoilers are also present for the following Star Trek productions: The Next Generation, First Contact, Deep Space Nine Season 3, Voyager Season 7, and Discovery Seasons 3-4.

The new season of Star Trek: Picard kicks off later this week! After a two-year wait since Season 1 ended, it feels so good to finally be just days away from another adventure with the crew of La Sirena. During Picard Season 1 I wrote up a list of theories that was updated after each new episode, and this season I wanted to do something similar. Because news, information, and teasers have trickled out about Picard Season 2 over the past couple of years, I have a few theories already – and this week we’re going to start my Picard Season 2 theory list by looking at each of them in turn.

Several of these theories have had longer write-ups elsewhere on the website, and you’ll find links to some of those articles as we go. As always, a caveat: I have no “insider information,” nor am I trying to claim that anything listed below will be part of Picard Season 2! If you followed along last season, or if you’ve been keeping up to date with some of my Discovery theories, you’ll know that I get things wrong! For me, that’s part of the fun, and taking time away from the real world to dive a little more deeply into Star Trek is something I find enjoyable. But no fan theory is worth getting too attached to or too upset over!

With all of that out of the way, let’s jump into the list.

Theory #1:
The season will end on a cliffhanger.

This one really comes from what we know about the production side of things! Picard Season 3 is already in production, and filming appears to have kicked off almost the minute work was done on Season 2. That leads me to think that the two seasons could form one continuous story – or, at the very least, that the final act of Season 2 will set up the story of Season 3.

Star Trek has a track record of cliffhangers going all the way back to Season 1 of The Original Series with the two-part episode The Menagerie. There have also been a number of season-ending cliffhangers, including in The Next Generation, with the most famous, perhaps, being The Best of Both Worlds. So I think it’s at least possible that Picard Season 2 will draw to a close in this fashion!

Theory #2:
The USS Stargazer will make an appearance.

A model of the USS Stargazer.

This is a theory that the very first Season 2 teaser kicked off almost a year ago! The image above, taken from that teaser, was a lingering shot of a model of the USS Stargazer in Picard’s study, and while we’ve seen glimpses of what appears to be a new USS Stargazer in some of the most recent clips and teasers, I think it’s still plausible that the original vessel will show up at some point.

Time travel is on the agenda, and while we know for a fact that Picard and the crew of La Sirena plan to visit the year 2024, that may not be their only destination. If the damage to the timeline is connected, somehow, to an event in Picard’s past, maybe it will be necessary to visit his time as captain of the Stargazer as part of that storyline. The Stargazer could also be seen in flashbacks, or even as a museum ship!

Check out a longer article about the USS Stargazer by clicking or tapping here.

Theory #3:
There will be some kind of crossover with Star Trek: Discovery.

The USS Discovery in the Season 4 episode Rubicon.

One thing that I find a little odd right now is the scheduling of Picard and Discovery. For the next three weeks, the two shows will be broadcast on the same day, which doesn’t make a lot of sense when you consider that 1) they’re shows with relatively short seasons, and 2) Paramount+ is a streaming platform. Does that mean there’s a glimmer of hope for some kind of larger-scale crossover than either show has attempted so far?

I suspect I’ll be proven wrong on this one, and that it’s simply due to the inexplicable nonsense that we’ve come to expect from Paramount+ and parent company Paramount Global. Someone has evidently decided that “Thursday is Star Trek day,” and that’s inflexible no matter what. That still doesn’t explain why Picard Season 2 couldn’t be delayed by a measly three weeks, though – especially with the constipated international rollout of Paramount+ potentially meaning that Strange New Worlds will premiere in the USA weeks or months before Paramount+ arrives in Europe. But we’re off topic!

In short, one possible explanation for the odd scheduling could be because the two shows are planning some kind of crossover event; if so, I’d love to see it! And with time travel on the agenda, anything is possible, right? At the very least, I hope that Picard Season 2 will put in more of an effort to connect with Discovery than happened in Season 1.

Theory #4:
There will be a reference to Gabriel Bell or Sanctuary Districts.

Dr Bashir and Commander Sisko in Past Tense.

According to the latest trailer, Picard Season 2 will be paying a visit to the year 2024… but it isn’t the first Star Trek production to visit that specific year! If Picard Season 2 wanted to visit “the modern day,” why not pick 2022 – or 2021 or 2023? 2024 feels like it could hold some kind of significance, and though there have been a couple of other references to events in the 2020s, the Deep Space Nine third season two-part episode Past Tense has already taken us to 2024.

The biggest event that we know of took place in California – the Bell Riots. I don’t necessarily expect to see the Bell Riots depicted all over again, but we could get some kind of reference to Gabriel Bell – the man who led the riots. There could also be mentions of “Sanctuary Districts,” which were areas built to house homeless people that became overcrowded prisons.

Given the current problem with homelessness in some American cities – including in California – it could be an interesting point of social commentary to revisit some of the themes tackled by Past Tense. That episode’s depiction of the 2020s feels a little too close for comfort to the state of the real world, in some respects!

Theory #5:
The Borg Queen will be necessary for time travel.

The Borg Queen in one of the Season 2 trailers.

One aspect of the Picard Season 2 story that I can’t place right now is the inclusion of the Borg Queen. In a story that seems not to be all about the Borg, what role might she play? To answer this question I wonder if we need to step back to the events of First Contact. In that film, the Borg Queen was present during a mission to assimilate Earth in the 21st Century… so could it be that Borg Queens have a special ability to travel through time that other Borg lack?

If so, perhaps the Borg Queen will be necessary to facilitate time travel, or at least to precisely calculate a destination in time. The explanation could be that time travel is possible but imprecise, and the Borg Queen has some kind of unique ability to hone in on a specific point in space-time that makes precise jumps through time possible. This wouldn’t be entirely inconsistent with the way time travel post-The Original Series has been depicted… so watch this space.

When the Borg Queen was initially teased, I had a bunch of ideas for ways that the Borg as a whole could be included. But when the season’s time travel story seemed to take up such a significant part of the marketing campaign I dropped most of them in favour of this one!

Theory #6:
Dr Jurati will unleash the Borg Queen.

The Borg Queen and Dr Jurati.

Sticking with the Borg Queen, we’ve seen several teases and clips that seem to show the Borg Queen on the loose. If the Borg Queen was originally a captive – as the trailers have seemed to suggest – the question of how she was able to break free raises its head. It’s of course possible that the Borg Queen is smart enough and powerful enough to break out of her confinement on her own, but she might also be able to convince someone to help her.

Dr Jurati is the cyberneticist that we met in Season 1, and she has a real love for all things synthetic. She wasn’t able to carry out her mission of harming Soji because her love and curiosity about synthetic life overwhelmed her Zhat Vash mind-meld, and I wonder if her innate fascination and sympathy for synthetic life could make her a target of the Borg Queen.

If so, perhaps Dr Jurati is able to be convinced to (literally or metaphorically) loosen the Borg Queen’s restraints, accidentally letting her loose on La Sirena.

Theory #7:
The captive Borg Queen is the same one from First Contact.

The Borg Queen in First Contact.

At the end of First Contact, Picard and Data managed to stop the Borg Queen. The Queen’s organic components were destroyed by plasma coolant in the Enterprise-E’s main engineering, but her synthetic parts – including her skull and part of her spine – remained intact. Picard appeared to break them at the end of the film, signifying the “death” of the Borg Queen.

However, the Borg Queen returned on several occasions, most notably in Voyager, seeming to confirm that there are multiple Borg Queens, or that the Queen is able to move her consciousness into a new body at will. It’s possible, then, that the captive Borg Queen in Picard Season 2 was found elsewhere, such as aboard the Artifact. But it’s also possible that the Queen from First Contact was not totally dead, and has been revived or reactivated in the years following the events of the film.

Theory #8:
Elnor will be assimilated.

Raffi and Elnor.

This theory stems entirely from a clip glimpsed in two of the recent trailers! In the image above, Elnor can be seen clearly injured with Raffi by his side. What’s interesting to note, though, is the eerie green light – green is a colour that has a strong association with the Borg. Could it be that Elnor has been attacked by the Borg Queen and is in the early stages of being assimilated?

That was definitely how I interpreted the clip on first viewing! I can’t tell if it’s taking place in La Sirena’s sickbay or somewhere else, though. Regardless… I hope that poor Elnor survives whatever’s happening to him! There are ways of surviving or reversing Borg assimilation, so there’s hope for Elnor even if the worst comes to pass.

Theory #9:
Q is not responsible for changing or damaging the timeline.

Did Q really damage the timeline?

The teasers and trailers for Season 2 seem to place the blame for whatever’s going on firmly at the feet of Q. But I would argue that the role of an out-and-out villain doesn’t really fit with Q’s prior characterisation, where he’s been challenging and adversarial, but usually to make a point or to push Picard to solve a mystery. Q’s god-like powers would also make him ill-suited to fill the role of the season’s overarching villain; with a snap of his fingers he could undo any victory Picard could hope to win.

I’ve always felt that Q sees himself as a friend, ally, and guide to Picard – and to humanity in general. That doesn’t fit with becoming a super-villain, and with so much teased about Q in pre-release marketing material, I have to assume that there’s more going on than meets the eye. We can’t have been introduced to the entire plot already, surely?

I have a longer article that goes into more detail about this theory, and you can find it by clicking or tapping here.

Theory #10:
Q shielded Picard and the crew of La Sirena from changes to the timeline.

Q in one of the trailers for Season 2.

One way in which Q could be involved would be to protect Picard – and his new crew – from changes to the timeline. There are many reasons why he might do this, and it could apply regardless of whether Q changed the timeline himself or not. If the entire timeline has been changed going back centuries, there has to be a reason why Picard and the crew of La Sirena are seemingly the only ones unaffected – and one explanation for that could be “Q’s magic.”

This would be in line with how we’ve known Q to operate. Episodes like Tapestry and All Good Things saw him use his powers to place Picard in an alternate life while retaining his original memories, and to move between three different time periods. Such a power is something we know Q can use, and it would explain two key things: how Picard and the crew of La Sirena remained unaffected, and how Q is involved in the story.

Theory #11:
Who is responsible for damaging the timeline, then?

Did the Borg do it?

If Q isn’t the one who changed the timeline, the obvious question that raises is “who did it?” In the days ahead I might put together a longer list of suspects, but for now I have a few suggestions!

In theory, it could be any one of a number of different Star Trek factions. We’ve seen the Klingons having access to time travel in the early 25th Century, for example, in the Voyager episode Endgame, and various time travel stories and stories depicting powerful alien races could all theoretically yield suspects. But considering what we know about Star Trek: Picard specifically, in my view the main suspects are as follows:

  • The Borg. We know the Borg have the ability to travel through time, and that they’ve weaponised that ability on more than one occasion.
  • The Zhat Vash. While the Zhat Vash may not have been shown to possess time travel tech, they were the primary antagonist last season, and arguably were not defeated in the Season 1 finale.
How about the Zhat Vash?
  • The super-synths. The super-synths from the Season 1 finale are a wildcard; we don’t know much about them except that they seem to be technologically powerful. Travelling back in time might be on their agenda – but erasing the prime timeline could result in the erasure of the Coppelius synths.
  • The Romulan government or the Tal Shiar. With or without the support of the Zhat Vash, the Romulan government could have taken action against the Federation in response to the events of Season 1.

There are undoubtedly other Star Trek factions who could be implicated, and if we had a free choice we could suggest the likes of the Dominion or the Sphere-Builders. But I think those are far less likely when considering the elements Picard has brought on board.

Theory #12:
Picard and the crew will have to actively trigger World War III to save the future.

World War III soldiers as glimpsed in Discovery Season 2.

Although the Bell Riots are the main event of 2024 that we know about in Star Trek’s internal timeline, the 21st Century was arguably dominated by another event: World War III. The war may have kicked off as early as 2026 (as suggested in The Original Series) and concluded by the mid-2050s as seen in First Contact. The “post-atomic horror” that followed was the backdrop for Q’s trial in Encounter at Farpoint.

World War III is integral to Star Trek because without it, it’s hard to see how warp drive would’ve developed and how humanity would’ve made peaceful first contact with the Vulcans. Just like the end of the Second World War brought about major technological and societal changes that ultimately made the world a better place, Star Trek’s World War III is integral to the events that led to the founding of the Federation. If it were prevented, the timeline would change dramatically.

So my theory is that the point of divergence is the outbreak of World War III – meaning that it will fall to Picard to trigger one of the worst wars in human history in order to save the future. Talk about a moral dilemma! You can find a full write-up of this theory by clicking or tapping here.

Theory #13:
The “totalitarian state” will be run by Khan and the augments.

Picard in the alternate timeline.

The alternate timeline that is established in Picard Season 2 will see the Federation replaced by a “totalitarian state.” This faction appears to be superficially similar to the Terran Empire from the Mirror Universe (though I hope not too similar, as I’m not the biggest Mirror Universe fan!) At the very least, this faction is not as genteel as the Federation and may be governed in an autocratic, dictatorial style.

Based on his appearances in The Original Series and The Wrath of Khan, we know that this is how Khan governed – or intended to govern – when he held power. It’s possible, then, that the totalitarian state that we’ve glimpsed in the trailers and teasers is led or inspired by Khan, and may be a society in which augmented humans hold power.

This could be supported by the introduction of a new member of the Soong family – played by Brent Spiner. The Soongs were known to have researched and studied human augmentation prior to the 22nd Century.

Theory #14:
There will be a connection between the augments and Strange New Worlds.

One of the few things we know about Strange New Worlds at this early stage is that there will be a character named La’an Noonien-Singh. This new character seems to be related in some way to the iconic villain Khan, and if Khan or Khan-inspired augments play some kind of a role in the “totalitarian state,” perhaps that will set up a connection – or even a crossover – between Picard Season 2 and Strange New Worlds.

Theory #15:
The “totalitarian state” is an isolationist power.

A portrait of the alternate timeline version of Picard.

Rather than being one part of a Federation, or the conquering force behind an Empire, it seems possible based on what we’ve seen so far that the “totalitarian state” is only comprised of humans on Earth. This could mirror Discovery’s isolationist Earth in the 32nd Century, and it would be interesting to look at the state of the galaxy if humanity remained isolationist and refused contact with other races. There could also be an allegory about some of our current political movements.

It will be very interesting to learn more about this faction. Who exactly it is, how it rose to power, and what role the alternate timeline version of Picard played in its power structure are all open questions at this stage, and I’m very curious to see how it will all unfold!

Theory #16:
Romulans are spying on Earth in the 21st Century… and could be time-travelling Zhat Vash.

A young boy encounters a Romulan or Vulcan.

In the third trailer, a young boy wearing what seemed to be 21st Century clothing was seen encountering a Romulan or Vulcan. If the Zhat Vash are involved in the new season’s story somehow, perhaps this individual is a Zhat Vash operative, and could confirm that the Zhat Vash were able to travel through time, or send a message back in time to their 21st Century counterparts. The Romulans had achieved interstellar flight centuries earlier, so travelling to Earth to spy or place operatives seems plausible for them.

Of all the scenes we’ve glimpsed so far from Season 2, the one with the young boy and the Romulan or Vulcan is the one that I’m least sure about! It doesn’t seem to fit naturally into a story about the Borg, Q, and time travel… but this is one theory that could make sense, and would connect to the theory above about Q not being to blame.

Theory #17:
The Vulcans are on Earth in the early 21st Century… as stated in Discovery Season 4.

A meeting of senior Federation and allied officials in Discovery Season 4.

Another theory about the unnamed Romulan or Vulcan is tied into the most recent episode of Discovery. This could easily be a complete overreaction to a throwaway line, but at the beginning of The Galactic Barrier, mysterious Federation leader Dr Kovich stated that Vulcans were on Earth for decades prior to official first contact taking place.

This one line could be a reference to Carbon Creek, an episode of Enterprise that saw Vulcans crash-land on Earth in the 1950s. But the timing seems odd given the scene glimpsed in the Picard Season 2 trailers! If the character seen above is a Vulcan, perhaps there will be a connection of some kind between Discovery and Picard.

Theory #18:
Guinan will be aware of the shifting timelines.

Picard with Guinan in the Season 2 trailer.

Though clips with Guinan that we’ve seen so far seem to suggest that she and Picard will meet prior to his new mission or during the very early stages of it, one thing we know for sure about Guinan is that she has a sense of when the timeline has been changed or damaged. We saw this in The Next Generation Season 3 episode Yesterday’s Enterprise most prominently, and it could come into play again here.

This could set up Guinan to be an advisor to Picard; she could be the one to tell him, for example, roughly when she thinks the timelines were changed or when the point of divergence was – potentially setting up the entire mission to the past!

Theory #19:
Laris and Zhaban will join Picard’s new mission.

Laris and Zhaban in Season 1.

Laris and Zhaban – Picard’s Romulan friends who lived with him at his vineyard – didn’t accompany him on the mission to track down Bruce Maddox and Soji, despite their skills potentially being very useful. If there’s another dangerous mission in the offing, will they be left behind again? I hope not!

We’ve already glimpsed Laris in some of the trailers for Season 2, and it seems as though she will have an expanded role, which is great. Although she and Zhaban filled a narrative role in Season 1 (being the familiar faces of home that Picard had to leave behind on his adventure, similar to the residents of Hobbiton in The Hobbit and The Lord of the Rings) it never sat right that Picard had two ex-Tal Shiar operatives on his side and just… ditched them! So maybe Season 2 will right that wrong.

Theory #20:
The loose ends from Season 1 will be tied up.

The crashed remains of the Artifact.

Because of the rushed nature of its final two episodes, Season 1 left a lot of unfinished story elements behind. Some of these will be solvable with a line or two of dialogue, and it would be great if Picard Season 2 could at least make an effort to draw a line under some of the unresolved, underdeveloped points at the end of Season 1.

Here are the main ones, as I see it:

  • What will become of the synths on Coppelius, and will they have to be relocated for safety?
  • Did Starfleet attempt to visit Aia and shut down the beacon at the centre of the Zhat Vash’s prophecy? Leaving it out in the open seems dangerous.
  • Will Starfleet contact the super-synths and attempt to make peace or convince them that they pose no threat?
The super-synths’ mechanical noodles.
  • Why did Bruce Maddox go to Freecloud?
  • With the Zhat Vash plot exposed, what will become of their crusade against synthetic life?
  • Did Federation-Romulan relations suffer as a result of the Zhat Vash’s attack on Mars and attempted attack on Coppelius?
  • What happened to Narek after he was captured by the Coppelius synths?
  • Who controls the Artifact and what will happen to the surviving ex-Borg?
  • Were there legal consequences for Dr Jurati?

Theory #21:
At least one character from The Next Generation will make an appearance.

The cast of The Next Generation Season 4.

With the return of Guinan and Q, as well as Voyager’s Seven of Nine, there are already a lot of returning characters in Picard Season 2! But that doesn’t mean that there isn’t room for a well-placed cameo or two, or even an episode like Season 1’s Nepenthe that steps away from the main story to revisit classic characters.

There are so many characters from Star Trek’s past that I would love to spend more time with; listing them all here would be impossible! But if Picard is to end with Season 3, as some outlets have been reporting, it would be fantastic if the crew of The Next Generation could reunite one last time.

I have a list of possible character crossovers that I wrote back in 2020, before we got to see any teasers or trailers, and you can find it by clicking or tapping here.

So that’s it!

La Sirena is warping onto our screens very soon!

With Picard Season 2 now just days away, those are my main pre-season theories. I have no doubt, though, that Picard Season 2 will bring new and unexpected storylines into play, so I hope you’ll tune in every week to see which theories get debunked and which new ones emerge as the story gets rolling!

I’m excited to see ex-Admiral Picard and the crew of La Sirena return. Getting back to the 24th Century had been my biggest Star Trek wish for almost twenty years, and we’ve now got three different shows in that time period! Whatever happens this season, and regardless of whether any of my theories pan out, I’m hopeful and optimistic that we’ll get a fun, engaging story.

Star Trek: Picard Season 2 will premiere on the 3rd of March on Paramount+ in the United States and on the 4th of March on Amazon Prime Video in the United Kingdom and around the world. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten “comfort episodes” of Star Trek for difficult days

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Original Series Season 2, The Voyage Home, The Next Generation Season 6, Deep Space Nine Season 6, Voyager Season 4, Enterprise Season 2, Short Treks, Picard Season 1, Lower Decks Season 2, and Prodigy Season 1.
Phew. That was a lot!

The world can be a crappy place, and not just because of wars and pandemics. Sometimes we all need to switch off from current events and seek out some escapism. For me, films and TV shows with very heavy themes, lots of violence, or dark narratives don’t always provide the best escape, and on days when my mental health suffers I find myself reaching for something lighter and comforting. On this occasion, I thought we could pick out a few Star Trek stories that I believe fit that description.

The Star Trek franchise has long been an escape from reality for me. In both its older and modern incarnations, I find that jumping head-first into a future that looks safer and better than anything we could imagine today feels pretty great! Star Trek has always had an underlying setting that feels optimistic and hopeful for a better tomorrow – and that’s something we all need to hear sometimes.

So with that in mind, let’s consider a few Star Trek stories that I believe make for lighter, comforting viewing. As always, this isn’t a ranked list; the episodes are listed below in the order they were first broadcast.

Number 1:
A Piece of the Action
The Original Series Season 2

Captain Kirk as you may not have seen him before!

The Original Series made very creative use of some of the limitations of its time! It wasn’t always possible to visit a brand-new planet every week that looked and felt very “alien,” so The Original Series used sets intended for other films and TV shows in different – and occasionally silly – ways. A Piece of the Action sees Captain Kirk and the crew encounter a planet whose entire population have based their society around the Chicago mob!

When A Piece of the Action was written, the 1920s were only forty years in the past – the equivalent today of the eighties! So perhaps to viewers at the time it was more relevant and less… camp. But I’ve always found A Piece of the Action to have a light, almost comedic flair simply because of its setting; the ’20s-inspired dialogue, the old fashioned suits, and the general tone of a “Golden Age of Hollywood” gangster flick all contribute to that.

Spock and Dr McCoy with Tommy guns.

The notion of going to a faraway planet in space and finding a society based on the Chicago mob is silly, but A Piece of the Action sells it in the best way it can, making the very odd juxtaposition of scenes aboard the Enterprise and scenes on Sigma Iotia II flow surprisingly well. But above all, it’s a fun story that imitates, in a very Star Trek way, classic mobster films from a generation earlier.

Apparently A Piece of the Action was going to be the basis for a Quentin Tarantino-directed Star Trek film that ultimately didn’t enter production. It seems as though I’m in a minority, based on the reactions to this news from Trekkies I’ve spoken with, but I’d have been interested to see what a director as undeniably talented as Tarantino would’ve brought to Star Trek. A new film from such a big name would surely have been a box office draw, at the very least! But maybe that should be the topic of a longer article sometime.

Number 2:
Star Trek IV: The Voyage Home

Dr McCoy and Scotty in 1986.

Also known as “the one with the whales,” The Voyage Home is arguably the most lighthearted and fun of all the Star Trek films to date! After the very heavy stories of loss and death in The Wrath of Khan and The Search for Spock, the third and final act of this trilogy came along like a breath of fresh air. I feel that The Voyage Home is the most dated of the Star Trek films thanks to being set in what was, at the time, the modern day. But that doesn’t detract from it; the kitschy eighties flavour is all part of the appeal!

There are some fantastic moments of pure comedy in The Voyage Home. I won’t spoil them if it’s been a while since you’ve seen it, but suffice to say that bringing a 23rd Century crew to the modern day and forcing them to interact with basic things like cash and computers led to some absolutely hilarious, iconic moments.

HMS Bounty makes it home.

There’s an ecological message at the heart of The Voyage Home, and the threat posed by the alien “whale probe” is definitely serious. But that theme doesn’t present as excessively weighty, and by the time Kirk and the gang are running around San Fransisco in 1986, the focus is more on the fun side of that premise.

With Star Trek: Picard Season 2 fast approaching, it could be fun to go back to The Voyage Home to see the most recent use of the “slingshot method” of travelling through time – something that may be making a return to Star Trek very soon!

Number 3:
Relics
The Next Generation Season 6

Cheers!

I wanted to put at least one crossover episode on this list, and this time it’s Relics that makes the cut! Bringing Scotty into The Next Generation was a lot of fun, and having him overcome his “fish out of water” status to eventually work alongside Geordi La Forge was absolutely fantastic, and made for a wonderful, heartwarming story.

With no evil villain to defeat nor a war to fight, Relics posed a scientific puzzle for Star Trek’s first two engineers to overcome – and in the process they were able to save the Enterprise-D from being trapped inside of a Dyson Sphere! There’s definitely a message in Relics: that older people have a lot to contribute if younger people are willing to take the time to listen.

Star Trek’s first two engineers teamed up for this adventure.

When I first saw Relics back in the ’90s, I wasn’t prepared for Scotty’s arrival. This was before the days of spoilers on social media, so I went into the episode completely unaware of what I was about to see. When Scotty materialised on the transporter pad for the first time I was absolutely blown away! The Next Generation had been my first port of call in the early ’90s, but by the time Relics came around I’d seen all of The Original Series films and quite a few episodes, so I was really excited when it turned out to be a crossover episode.

Relics is, in a lot of ways, a very fan-servicey episode. But it’s also a comforting one, and more than that it feels almost like a slice of pure Star Trek. There’s a scientific mystery that’s both interesting and exciting, there are some wonderful character moments between Scotty and Picard and Scotty and La Forge in particular, there’s more than a dash of humour, and there’s an underlying message that may just strike a chord with some folks in the real world. It’s an all-around Star Trek episode!

Number 4:
The Magnificent Ferengi
Deep Space Nine Season 6

Aren’t they magnificent?

The Magnificent Ferengi takes what should be a dark and upsetting premise but manages to put a lighthearted, comedic spin on it thanks to the inclusion of the titular Ferengi. After a less than spectacular introduction in the first season of The Next Generation, in which they were originally supposed to replace the newly-pacified Klingons and become a major antagonist, the Ferengi carved themselves a new niche in Deep Space Nine thanks in no small part to a wonderful performance by Armin Shimerman as Quark.

We came to see the Ferengi as comic relief on a number of occasions, as in The Magnificent Ferengi, but they were also a people with depth. Issues within Ferengi society surrounding the pursuit of wealth at all costs, the second-class status of women, and so on were topics that Deep Space Nine tackled, and the fact that the Ferengi can be funny didn’t detract from those attempts to use them to examine some more serious subjects. But that’s not why we’re here today!

Quark and Keevan.

At the height of the Dominion War, Quark and Rom’s mother is captured by the Dominion, and Quark leads an all-Ferengi rescue operation. With the exception of Grand Nagus Zek, this episode brings together practically every Deep Space Nine Ferengi character, and musician Iggy Pop has a guest-starring role.

The plot descends into a comedic farce – naturally, given Quark’s leadership – and if you’ve ever seen Weekend at Bernie’s… well, you know what to expect! The Magnificent Ferengi is a ton of fun, and a great episode for showcasing some of Deep Space Nine’s recurring characters.

Number 5:
Message in a Bottle
Voyager Season 4

Two Emergency Medical Holograms!

Once again we have an episode with a potentially dark premise that goes in a very different and fun direction! The Doctor is the star here, as he’s sent to the Alpha Quadrant to attempt to make contact with Starfleet for the first time since Captain Janeway and the crew became stranded 75,000 light-years from home… but he finds himself aboard a ship that has been captured by the Romulans!

Comedian Andy Dick guest-stars as a newer version of the Emergency Medical Hologram, and forms an astonishingly funny pair with the Doctor, who was often used for moments of comic relief during Voyager’s run. Seeing the two holograms working together to outsmart the Romulans in a comic story that could verge into slapstick is absolutely hilarious, and there are some real laugh-out-loud moments.

The Doctor and his fellow EMH.

I also find Message in a Bottle to be a very uplifting episode. It marks the halfway point of Voyager’s seven-season run, and the first moment that the crew are able to contact the Federation. After four years of being alone, the crew finally get to inform Starfleet that they’re okay and working their way home, and there’s something incredible about the episode’s closing moments as a result.

The Prometheus-class ship is a pretty cool inclusion, too – a brand-new class of ship which has features that even the USS Voyager or Enterprise-E couldn’t match. I always wanted to see more from this ship, but aside from a couple of background appearances, we haven’t yet!

Number 6:
Carbon Creek
Enterprise Season 2

Vulcans… in the fifties!

Carbon Creek uses a frame narrative to tell the story of the first time Vulcans came to Earth… and it wasn’t in the mid-21st Century, as Captain Archer (and us as the audience) had been led to believe! Instead, T’Pol tells the tale of her great-grandmother, and how she and a small crew came to be stranded on Earth in the 1950s during a survey mission.

Carbon Creek is fun for its fifties atmosphere, and Enterprise really manages to nail that feel through some wonderful sets, costumes, and dialogue. It’s also an episode that shows off how Vulcans can be unintentionally funny in Star Trek, particularly when confronted with different or unusual situations. In this case, T’Mir and her crew have to blend in with a town of very emotional humans.

Cheers!

There are definitely some lighthearted moments scattered through the entire episode, and the frame of T’Pol recounting the story to a stunned Archer and Tucker adds to that as well. It’s also a great example of how a prequel story doesn’t have to tread on the toes of anything established previously; nothing in Carbon Creek fundamentally changes what we already know about first contact between humans and Vulcans. In many ways it expands it – knowing that Vulcan had humanity under observation decades ahead of official first contact gives them a reason to be surveying the area during the events of First Contact!

All in all, a fun episode that steps away from many of Star Trek’s familiar elements like starships to tell a story with some interesting characters in a fun setting.

Number 7:
Ephraim and DOT
Short Treks Season 2

Ephraim and DOT.

It’s a shame that we haven’t seen more Short Treks lately; the most recent batch of episodes ended with Children of Mars shortly before Picard Season 1 kicked off in early 2020. The idea of telling one-shot short stories in the Star Trek galaxy may have been a fairly blunt and obvious way for CBS All Access (since rebranded as Paramount+) to convince Trekkies to remain subscribed in between seasons of the main Star Trek shows, but several episodes ended up being fantastic in their own right.

Ephraim and DOT was one of two animated Short Treks episodes that were broadcast in December 2019, and it’s something that we hadn’t really seen the Star Trek franchise do before. Thirty-five years after The Animated Series went off the air, this was Star Trek’s first return to animation, and where The Girl Who Made The Stars was more of a conventional story, Ephraim and DOT was framed very differently!

A well-earned hug.

Telling the story of a tardigrade named Ephraim and a DOT-type robot aboard the USS Enterprise, this Disney-inspired tale sees the unlikely duo team up to save Ephraim’s eggs. With an enthusiastic narrator who sounds like they’ve come from a National Geographic documentary, the short story is a lot of fun – and packs a surprisingly emotional punch at its climax!

Ephraim and DOT also shows off a handful of fun clips from The Original Series that have been reimagined for animation, and this “greatest hits” montage was absolutely fantastic; a blast from the past that elevated the episode.

Number 8:
Nepenthe
Picard Season 1

Picard and Riker embrace.

If you don’t have the same connection to the characters from The Next Generation that I do, maybe Nepenthe won’t be one of your “comfort episodes.” But for me, seeing Picard reunited with Riker and Troi was one of the highlights of Picard Season 1 – and Nepenthe is one of the best Star Trek episodes that I’ve seen in a long time!

After several tense and dramatic episodes in which Picard and the crew of La Sirena had to unpick the mystery of Bruce Maddox, the synths, the Zhat Vash plot, and so on, Picard was able to rescue Soji and use a spatial trajector to escape to the planet of Nepenthe – home to Riker, Troi, and their daughter Kestra.

Kestra and Soji.

There are some very sweet moments between Soji and Kestra as they bond, and while the story has some very bittersweet moments as we learn that Riker and Troi’s elder child had passed away, there are some absolutely incredible and heartwarming character moments as well. After more than eighteen years away from the 24th Century, Nepenthe felt like the homecoming I had been waiting for.

Seeing Riker and Troi enjoying a peaceful life away from Starfleet was something that I needed to see, even if I didn’t realise it beforehand! Although there were issues with the Picard Season 1 finale that meant that, realistically, taking an entire episode away from the main plot to slow down and hang out with Picard, Riker, Troi, and Soji was arguably a mistake, I just can’t find it in my heart to fault Nepenthe for the way it comes across on screen. It’s a beautiful, emotional episode, and sitting down to eat pizza with the characters after everything they’ve been through just feels right.

Number 9:
First First Contact
Lower Decks Season 2

Tendi and Dr T’Ana.

First First Contact might be my favourite episode of Lower Decks so far. It isn’t as hilarious as some of the show’s other offerings, but as an uplifting story with a real “Star Trek” feel, I don’t think it can be bettered! The episode sees the crew of the Cerritos teamed up with the fancier and more powerful USS Archimedes – under the command of one Captain Sonya Gomez, no less – to undertake their first ever mission of first contact!

But naturally, things don’t go to plan. The Cerritos is called into action to save the stricken Archimedes, and the entire crew pulls together to perform the very difficult and dangerous task of literally stripping off the ship’s outer hull! Lower Decks ditched its usual two (or three) storylines format here, and put all four ensigns and all of the ship’s senior staff in the same story – and the result was absolutely fantastic.

The USS Cerritos and the USS Archimedes.

Lower Decks goes out of its way to recreate the look of The Next Generation era, and I’ve always appreciated that. But it doesn’t hesitate to bring new things to the table, and we get our first look at Cetacean Ops in this episode – an aquatic department that had been mentioned in background dialogue in The Next Generation but never seen on screen.

All four ensigns have roles to play in the story, and after the Cerritos had to be saved at the climax of the Season 1 finale, the poetic symmetry of being the one to save a disabled Starfleet ship was absolutely beautiful, and a great way to bring the show’s successful second season to a close.

Number 10:
Kobayashi
Prodigy Season 1

Dal and Jankom Pog with a holographic Dr Crusher.

The Kobayashi Maru test seems like an odd choice for a “comfort” pick, doesn’t it? But the way Prodigy pulls it off feels like a love letter to Star Trek, bringing in classic characters from The Original Series, The Next Generation, and Deep Space Nine in holographic form.

There’s more going on in the episode than just the Kobayashi Maru test on the holodeck, and Prodigy’s ongoing story arcs come into play in a big way throughout. But for me, the moments on the holodeck with Dal and the holographic versions of some wonderful characters from Star Trek’s past are what elevates Kobayashi and what makes it so enjoyable.

Uhura!

It’s such a shame that Prodigy remains (officially) unavailable in most of the world, because it’s been one of the most surprisingly fun Star Trek projects, and despite its kid-friendly atmosphere and intended audience, there’s so much to love for Trekkies. I hope that the rollout of Paramount+ internationally will see Prodigy grow in popularity and bring in hordes of new fans – and with episodes as strong as Kobayashi to ease them into the world of Star Trek, there’s a good chance that’ll happen!

The character choices may seem like an odd mix at first – and seeing Odo on the bridge of a Galaxy-class ship definitely felt strange! But each of them is given a moment to showcase their strengths, and what they brought to Star Trek in their original appearances. It makes the entire holodeck sequence feel so very special – and with such an eclectic mix of characters, there really isn’t anything quite like it in Star Trek’s entire official canon!

So that’s it!

The original USS Enterprise.

Those are my picks for ten “comfort episodes” – or rather, nine comfort episodes and a comfort film – from the Star Trek franchise. We don’t need to repeat why the world feels so messed up right now, because we can all see what’s going on. Certain news stories have become omnipresent, completely taking over social media and other apps. If you find yourself doomscrolling, take a break. Do anything other than wallow in the mess of the real world.

The Star Trek franchise has been my comfort place for decades, and I find myself drawn to it when the world feels too much or when my mental health suffers. A future where humanity has succeeded at conquering not only the problems of today but also many of the baser, more primitive aspects of our own nature holds an appeal that can be difficult to put into words, and I find that practically every Star Trek story – even those darker in tone – have a lot to offer.

So I hope this was a bit of fun and maybe gave you some viewing inspiration! I had a great time going back to these episodes to put this list together, and with everything going on in the world I thought it could be a good time to share something like this.

The Star Trek franchise – including all episodes and films discussed above – is the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery review – Season 4, Episode 10: The Galactic Barrier

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4. There are also minor spoilers for Star Trek: Picard Season 1 and the most recent trailer for Season 2.

Don’t get confused! According to Star Trek, there are not one but two barriers in the galaxy: one around the centre called the “Great Barrier” and one around the edge called the “Galactic Barrier.” They are not the same thing, and Discovery took us to the outer edge this week, not the centre! Two barriers, one galaxy. I hope that clears it up for you!

After being underwhelmed by the last couple of episodes, mostly due to their heavy focus on Captain Burnham’s angst over the situation with Book, The Galactic Barrier came along like a breath of fresh air. Though it relies heavily on the DMA and Unknown Species 10-C storylines, it came across on screen as two almost standalone sci-fi adventures, one starring Captain Burnham, President Rillak, and the crew of the USS Discovery, and the other focusing on Book and Tarka as they tracked down a rare element that they needed to cross the galactic barrier.

The USS Discovery approaching the titular Galactic Barrier.

Both of these stories worked incredibly well for me, and showcased how strong Discovery can be when it doesn’t overdo the character drama. This isn’t a soap opera – and when the show’s writers get the right balance between fun sci-fi antics and intimate character moments, we’re treated to what I genuinely believe is some of the best science fiction ever brought to screen – and some of the best Star Trek, too.

The central character pairings of Book and Tarka on one side and President Rillak and Captain Burnham on the other worked brilliantly this week, and when the adventures paused to spend time on these character relationships, it was a welcome break from the incredibly drawn-out conflict between Book and Burnham that had dominated the past two episodes to the detriment, I would argue, of other aspects of the season’s storyline.

Captain Burnham got a much-needed break from Book this week.

I wrote last week that the DMA/Unknown Species 10-C story was unfolding in a very similar way to the Burn last season – and, to an extent, Control and the Red Angel in Season 2 as well. Discovery is definitely still flirting with repetitiveness in that regard, but with The Galactic Barrier telling these two semi-standalone stories of the mission to cross the Galactic Barrier and Book and Tarka’s antimatter harvest, at the very least we got a bit of a break from that feeling of déjà vu that had been present.

Let’s get what is perhaps the least impressive part of the story out of the way first: Earth being in danger is such a played-out cliché in stories like these. It was hard to avoid rolling my eyes when Admiral Vance’s holographic message dropped that particular bombshell, and I find myself repeating something I’ve said about Discovery on several occasions in Season 4, Season 3, and all the way back to the beginning: the show is strong enough and its storylines are interesting enough in their own right that there’s no need for this. Falling back on tired tropes doesn’t really do anything to ramp up the tension; the mission to contact Unknown Species 10-C is already sufficiently tense, exciting, and dangerous that there’s nowhere left to go.

Admiral Vance’s holo-message.

For me, this wasn’t so much an epic fail as a piece of unnecessary fluff. I wish Discovery’s producers and writers had more confidence, sometimes, in the stories they want to tell. When a fictional setting is built up as well as Star Trek’s, and when we already know the stakes involved thanks to what happened to Kwejian, there’s no need to put Earth in harm’s way – doing so almost detracts from the story, because now we know for absolute certain that Captain Burnham will find a way to save the day! If another planet was in danger – say, for example, the Breen homeworld or Bajor – the story could still go in any direction. We saw with the destruction of Kwejian that the writers are happy to blow up planets. But when it’s Earth, far from feeling like the planet is in serious danger and Captain Burnham might not be able to save it in time… now I’m left with a sense that the story’s conclusion is an inevitability rather than a possibility.

But aside from that unsuccessful attempt at taking the stakes from a ten to an eleven, The Galactic Barrier was impressive all-around. The visual effects of the titular barrier were impressive, and it was a rare treat to see the USS Discovery at warp! I love the spore drive, don’t get me wrong, but warp drive has been a huge part of Star Trek going back to the beginning, so to see the USS Discovery at warp for what I think is the first time this season and only the second or third time since the end of Season 2 was beautiful. The updated look of ships at warp is absolutely fabulous, and I never tire of seeing it.

The USS Discovery at warp.

The Galactic Barrier had originally appeared in The Original Series, first in the show’s second pilot, Where No Man Has Gone Before, and again in the third season episode Is There In Truth No Beauty. The latter episode featured a pocket of space within the barrier, something that Discovery also used to great effect this week, which was a fantastic callback to the very beginnings of Star Trek.

Discovery has been criticised in the past for treading on the toes of the established canon of Star Trek. Some of that criticism is fair, some arguably is very nitpicky, but we’re getting off the subject! In The Galactic Barrier, Discovery didn’t overwrite anything but instead expanded on our knowledge of how this unusual phenomenon works. Using the way the Galactic Barrier had been set up in The Original Series as a baseline, the episode took the concept and fleshed it out, explaining why travelling through it is so difficult and showing why it hasn’t been attempted in such a long time. As the Star Trek franchise continues to grow, I’d like to see more of this kind of thing. Picking up an element from the franchise’s past and looking at it in more detail without overwriting what came before is incredibly rewarding for long-time viewers, and I hope that other Trekkies who enjoyed The Original Series are as impressed as I am with Discovery’s approach this week.

The Galactic Barrier was visually impressive.

I was wrong in my theory that Ruon Tarka’s friend was someone we might be familiar with… and I have to say that I’m a little confused by the way this unfolded. I always caveat my theories by saying that they probably won’t pan out and that getting too attached to fan theories is a bad thing, and I also said from the beginning that I might well be overreaching by suggesting potential crossover characters for Tarka’s friend. But as we moved through three episodes with this individual’s identity being deliberately hidden by Discovery’s writers, I felt increasingly sure that there must be a reason.

The revelation that the character of Oros was someone brand-new is fine, and I actually like the relationship between he and Tarka that The Galactic Barrier showed us in flashback form. There was a sweetness to Tarka that we haven’t really seen before, and a hint – just a hint, at this stage – that the relationship goes beyond mere friendship. All of that is totally fine, and is even good; it adds dimension and complexity to Tarka and helps turn him from a villain into an antihero we can root for. But I have to question why this character’s identity was so carefully hidden until this episode. What was the point? Was it just to throw out a red herring, to send fans like me into theory-crafting overdrive? If so, that seems a little cruel. It just feels like naming Oros as far back as But To Connect wouldn’t have done any harm to the flashbacks in The Galactic Barrier, and that there wasn’t any reason to go to such lengths to keep Oros’ name and identity a secret for so long.

Ruon Tarka’s “friend,” Oros.

Since Tarka’s first appearance in The Examples earlier in the season he’s been much more than just a “mad scientist” character trope. His characterisation may have begun with that archetype, but the complex and nuanced character that we’ve come to know is so much more than that. We saw this week how he dealt with defeat: his weapon had failed to get him the power source he’s so desperately seeking, and through the flashbacks with Oros and his conversations with Book, we also saw how he’s a genuinely loving and caring person, willing to go to extremes to reach someone he cares about. In a series that has been all about finding and holding onto connection, Tarka fits the mould in a different way, but no less of an important or impactful one.

The relationship between Book and Tarka is evolving, too. Tarka had been in control for much of their time together, dictating how the weapon would be built, what components he needed, and so on. But this week we saw Book take back control – firstly by threatening to kick Tarka off his ship, and secondly by demanding to know the full story of what happened with Oros and what’s driving him.

Book and Tarka make a great character pair.

Book has been pretty static the past few episodes; his development this season came earlier as he grieved for Kwejian, leading up to his betrayal and team-up with Tarka before the mid-season break. And I don’t think we saw a lot in The Galactic Barrier to further develop or explore the extent of Book’s grief or how he’s dealing with his feelings of loss, but what we did get was someone trying to reassert himself and regain control of a situation that I’m sure even he would admit has spiralled out of control.

Despite his complex relationship with Tarka, finding out more about the man he’s stuck with seemed to be important to Book, and the revelation of Tarka’s past seems to have solidified their partnership, at least in the short-term. It would have been possible for Book to take the antimatter and ditch Tarka if he’d wanted to; he seems to recognise that, at least for now, it’s in his interests to continue to work together. I suspect that there will be some pay-off to this if and when the pair make it across the Galactic Barrier – and I’m still rooting for Tarka to find a way to reach Oros. In spite of his misdeeds (or perhaps because of them), I find him a strangely relatable character.

Tarka in one of the flashback sequences.

One thing that wasn’t addressed in The Galactic Barrier was the status of Book and Tarka. Are they fugitives now, having detonated their weapon? Is Book in less trouble than Tarka having indicated his willingness to stand down? It seems as though Book assumes he needs to remain off the grid, otherwise I would’ve expected him to have at least tried to reach out to Burnham; their parting of the ways in Rubicon seemed to suggest a middle ground between them was possible, and from there perhaps even a pathway to reconciliation. I’m sure Discovery will address this before the end of the season, but it was interesting that Book and Tarka’s status wasn’t really discussed here.

One thing that’s baffled me ever since it was announced a few weeks ago is the scheduling of the next few episodes of Discovery. They will overlap with the first three episodes of Picard Season 2… and on a streaming platform I just don’t get why that is. This is something that I’ll address in more detail in my next theory post, but I wonder if there’s a possible crossover on the cards and that’s why the weird scheduling has happened. If so, perhaps we got the very first hint at it in The Galactic Barrier, with a reference made about Vulcans observing Earth prior to official first contact taking place. This could be a reference to the events of the Enterprise episode Carbon Creek, but it could also be an oblique reference to something we’re about to see in Picard Season 2 – the most recent trailer showed off a Vulcan (or perhaps a Romulan) on what appeared to be 21st Century Earth. We’ll dig deeper into this possible crossover in my theory post in the days ahead, so stay tuned for that!

A Vulcan (or possibly a Romulan) on Earth in what appears to be the 21st Century as seen in the recent Picard Season 2 trailer.

The burgeoning relationship between Saru and T’Rina took a turn this week, with Saru responding to T’Rina’s earlier invitation to dinner. There’s something adorable about the way both of these characters behave; they’re clearly not used to reaching out to someone else in this way, and the almost teenage awkwardness of asking someone out and worrying about saying the wrong thing is made so much cuter by the fact that they’re both usually so calm, wise, and stoic.

I’m glad that Discovery has given this kind of new relationship to Saru. It would’ve been easy, in a series with a lot of relationship drama coming from its protagonist, to either completely ignore the possible relationships between other characters or to give them easy, comfortable, safe relationships that don’t take up a lot of screen time. Discovery learned the hard way from messing with the Stamets-Culber relationship that these things don’t always come across well on screen, so taking a bit of a risk here with Saru and T’Rina is bold – and it’s working exceptionally well, injecting some lighter moments into a series that can be very heavy at points. It’s also sweet to see Dr Culber helping Saru as he takes these first steps into his very own new frontier; they work so well as a pair in these moments.

T’Rina and Saru.

So who do we think the Federation Vice President is? My money is on Kovich right now; I don’t see another plausible candidate among the very limited Federation HQ minor characters, and there was something about the way that President Rillak and Admiral Vance went out of their way to avoid using the VP’s name that makes me think that there could be a significant revelation to come. Kovich has remained ambiguous since we met him in Season 3, and although he went through some significant growth this season, particularly in episodes like All Is Possible, the events of The Galactic Barrier seem to have placed him right back in that mysterious space.

What is Kovich doing that’s more important than dealing with Unknown Species 10-C? And will this be paid off at all, or was it just a conveniently ambiguous line to move him out of the way so President Rillak could go on the mission? Sometimes it feels like Discovery has a plan with these moments, but then when the story ends and the dust settles, they turn out to be nothing more than throwaway lines! So right now I feel that there should be something bigger going on with Kovich – and again I’ll take a look at a couple of possibilities in my upcoming theory post – but at the same time, Discovery’s track record, and the fact that there are only three episodes left, makes me question whether we’ll see anything for ourselves.

Dr Kovich… Vice President of the Federation?

In a way, I enjoy Kovich’s ambiguity and the somewhat mysterious nature of his role within the hierarchy of the Federation. Speculating is always fun, but at the same time if Kovich’s position was fully explained and his role fleshed out, there’s a chance he might lose what has made him such an interesting part of the show over the past couple of seasons. I had initially pegged Kovich as a villain, perhaps a Section 31 leader or something like that. But episodes like But To Connect showed off that he at least appears to be committed to Federation principles, so I’m not sure about that any more, and I even struck the “Kovich is Section 31” theory off my list a few weeks ago.

We’ll save the guesswork for my theory post, but suffice to say I can think of a few reasons – both good and evil – for what role Kovich might play and why he might’ve chosen to recuse himself from the mission through the Galactic Barrier. I hope that, whatever’s happening with him, we don’t lose him as a character by the end of the season. With Discovery returning for a fifth season, I would hope Kovich could stick around for more ambiguous adventures!

Kovich and the rest of the senior officials.

Speaking of Kovich, it was said on several occasions this season that Lieutenant Commander Bryce is working closely with him, and he got a scene this week in which he parted ways with Saru that was very sweet. Although Bryce has been a secondary character, his goodbye with Saru hit all of the emotional notes that I might’ve expected from a major character, and this scene genuinely felt like two good friends parting ways, knowing that it could well be for the final time.

There weren’t that many characters with whom we could’ve gotten similar scenes, so in that sense it’s logical to use Bryce here – and actor Ronnie Rowe Jr. put in a beautiful performance opposite Doug Jones. The pair really sold me on this moment, and it was a surprisingly emotional scene given that Bryce has never been the focus of a major story across the show’s four-season run to date. Again, this is something to speculate about in-depth next time, but I wonder if Discovery plans to pay off Bryce’s story of working with Kovich in some way. Perhaps the two of them will work together to save the day… or perhaps Bryce won’t survive, and this moment with Saru was the equivalent of his goodbye to the series and to us as the audience!

Are we about to say goodbye to Bryce?

I stand by what I’ve said about President Rillak in her past appearances: she’s a hard-nosed politician with a Machiavellian edge, willing to use other people to manipulate events to get the outcome she’s looking for. But this week we saw – dare I say – an almost altruistic side to the Federation’s President, as she delegated power to her Vice President and accompanied the USS Discovery on its mission through the Galactic Barrier.

It’s still possible, in my view, that Rillak has an ulterior motive here. But at the same time, it was nice to see her recognising her mistake from the season premiere – in which her questioning and time-wasting on the bridge in the middle of a crisis was completely out-of-line… and arguably got poor Commander Nalas killed. Some characters on Discovery have arguably been less good at recognising their own mistakes and learning from them, so this was something nice to see; a moment of (apparent) contrition from a wonderfully complex character. As she has done all season long, Chelah Horsdal absolutely nailed it.

President Rillak joined the mission.

Captain Burnham showed last week that she has a weakness when it comes to Book – understandably so. But that weakness definitely had an impact on her ability to command her ship level-headedly, to such an extent that Nhan was given authority to overrule her if it came down to the wire. This week, with Book effectively out of the picture, we got to see a much more composed Captain Burnham, and she remained fully in control of the ship and crew as they made their way through the Galactic Barrier.

For me, this hammers home why the whole relationship drama angle that Discovery has aggressively pursued for the last few weeks is such a mistake. Captain Burnham is at her best when she’s composed and in control, able to draw on her inner strength to be the kind of leader that we know she can be. When she’s distracted unnecessarily by a fairly pedestrian and poorly-written soap opera-inspired boyfriend angst storyline, we don’t see her at her best. Female characters – especially leading characters like Captain Burnham – are done a disservice by the show’s writers and creatives if all they’re permitted to do is sit around and worry about the men in their life. By cutting the crap this week and focusing on what was a fun sci-fi adventure story in its own right, Discovery once again allowed Captain Burnham to shine.

Stepping away from Book was good for Captain Burnham this time.

Discovery presented Captain Burnham and President Rillak with a complicated question after Admiral Vance’s holo-message arrived. There isn’t an easy, clear-cut answer in situations like these, and I can understand both Captain Burnham’s position of wanting to share the news about the danger to Earth and Ni’Var with the crew so they know the full picture and understand the stakes, but also from a practical point of view, I can understand President Rillak’s wish to keep the information private, at least in the short-term.

President Rillak wanted to avoid losing control of the situation, which is understandable psychologically for someone in a position of authority. But more so I think her point about not wanting to leave the crew with an unnecessary distraction that could interfere with their work is a valid one; at the very least, waiting until the dangerous mission to navigate the Galactic Barrier was complete seems like a perfectly reasonable and sensible position to take.

President Rillak and Captain Burnham.

Because this is Discovery, though, and despite all the talk last week of “finding a middle ground,” Captain Burnham had to win this particular argument, and after a conversation with President Rillak, the news was ultimately shared with the crew and the assembled delegates. I like, however, that they waited until the most dangerous part of the mission had concluded before doing so – it feels like somewhat of a compromise under the circumstances.

It was interesting to learn that the mycelial network doesn’t extend beyond the edge of the galaxy. The network seemingly connects at least two parallel universes – the prime and Mirror – so it seems odd that it has this limitation. Obviously, though, for the sake of the story a way around the spore drive had to be found, but it does feel at least slightly inconsistent with previous statements about the mycelial network spanning an entire multitude of universes. This is really just a nitpick, though, in the grand scheme of things, and the mycelial network being a galactic phenomenon allowed Discovery to tell one of the most exciting and interesting stories of the season so far.

Dr Hirai.

I’m interested to learn more about Dr Hirai, the new character introduced in this episode, but he ultimately didn’t get a lot to do on this occasion. The talk of universal translators and making assumptions about Unknown Species 10-C was all very interesting, but until we actually get to see this faction for ourselves it was a bit of background that may or may not come into play… and it feels like it was there as an excuse to show off some combadges and other props more than anything else!

So I think that’s about all I have to say this week. The Galactic Barrier was one of the best episodes of Season 4 so far, telling two distinct stories that took our characters to some very different literal and thematic places. The sci-fi adventure of overcoming the odds to navigate a dangerous phenomenon was a ton of fun, and stepping away from the show’s recent focus on Captain Burnham and Book allowed both characters some much-needed breathing space. The show itself took advantage of this, too.

I had a ton of fun with The Galactic Barrier, and it’s an episode that I’ll happily rewatch for its semi-standalone adventure story when the season is over. With only three episodes remaining, surely we’re close to learning who Unknown Species 10-C are… right?

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, Google Play, 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 Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Et in Arcadia Ego: What went wrong?

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1, in particular the two-part episode Et in Arcadia Ego.

With Star Trek: Picard Season 2 approaching, I wanted to take a moment to step back to the Season 1 finale. Et in Arcadia Ego was the two-part ending to the show’s first season, and after the preceding eight episodes had masterfully and slowly built up an engaging story, it unfortunately ended in a way that was, at best, underwhelming. On this occasion I want to look back at Et in Arcadia Ego and ask “what went wrong?”

I think we can summarise the finale’s issues in a single word: rushed. The two parts of Et in Arcadia Ego were overstuffed with plot, partly as a result of the deliberately slow pace of the rest of the season, but also in part because of the decision to introduce new characters, a new faction, and whole new storylines at the last minute. As a result, Et in Arcadia Ego had to rush through far too much narrative in far too little time, leaving significant chunks of it on the table by the time the credits rolled on Part 2.

The final scene of Et in Arcadia Ego, Part 2.

In my view, most of the damage was done in Part 1 and the first half of Part 2. By the time we got into Picard’s speech over Coppelius and his stint with Data in the digital afterlife, Et in Arcadia Ego picked up, and the issues with pacing and the editing of certain scenes abated. Those latter emotional sequences went a long way to salvaging the finale, and Picard’s time with Data – giving the character the proper send-off that he hadn’t got in Nemesis – meant that the story found a second purpose, one which I think many Trekkies appreciated.

There was also some fantastic acting in the second part of Part 2, with Evan Evagora, Michelle Hurd, Santiago Cabrera, and Jeri Ryan all putting in exceptional, deeply emotional performances as their characters dealt with the apparent death of Admiral Picard in different ways. The way Elnor broke down crying at the loss of his surrogate father figure is one of the most emotional moments in the entire season, and both Evagora and Hurd excelled in that moment.

A heartbreaking moment.

But as the credits rolled on Part 2, after Picard had laid Data to rest and been reborn in a new synthetic body of his own, I was left feeling that, despite the emotional high points as the finale drew to a close, the nicest thing I’d be able to say about Et in Arcadia Ego is that it was a mixed bag; an underwhelming end to what had been an otherwise excellent first season. At worst, I might even call the entire finale disappointing because of its underdeveloped characters and storylines that seemed to go nowhere.

The basic premise of Et in Arcadia Ego was interesting on the surface. After discovering that there are more synths than just Soji, we as the audience had been led to assume that they’re a peaceful civilisation who are being unfairly targetted by fanatical Romulan zealots. But instead we learn that the Zhat Vash were, in a sense, right. The beacon they discovered on Aia did warn of a powerful civilisation of super-synths who would murder organics, and not only that, but Soji’s evil twin Sutra planned to contact them. The synths turned from damsels in distress needing to be saved into a civilisation acting out of self-preservation, but nevertheless needing to be stopped from inflicting mass murder – or possibly even mass genocide – on the galaxy.

Soji’s “evil twin,” Sutra.

It fell to Picard to try to dissuade the synths, to show them that not every organic is hostile to them, and that if they would trust him – and trust the Federation to do the right thing – they would be safe. After a season in which the Federation was not painted in the best possible light this was a cathartic moment, and I understand what Et in Arcadia Ego was trying to do here.

Particularly in Part 2, Et in Arcadia Ego successfully hit some of those story beats, and the emotional high points surrounding Picard’s death, Data’s second death, and the desperate last stand over Coppelius felt great. In fact, I’d argue that the second half of Part 2 came close to rivalling the rest of the season in terms of the emotional side of its storytelling, and if we were looking at that part of the finale in isolation – or if the rest of the two-part story had been up to that level – we wouldn’t be having this conversation today!

Data in the digital afterlife.

On the technical side of things, before we get into story complaints, Et in Arcadia Ego was a very rushed, poorly paced episode. As a result of trying to cram several episodes’ worth of story into not enough runtime, there were some utterly ridiculous editing choices. At one point, Commodore Oh was stood on the bridge of her Romulan vessel, and appeared to speak a line to absolutely no one.

This line was very generic, too, and the entire scene – if we can be so generous as to call a clip that lasted a few seconds a “scene” – just came across as laughable, not intimidating or concerning. There were also a couple of places where two scenes were very poorly spliced together – at the beginning of Part 2, for example, a speech Picard made to Soji was heard only in voiceover, with Dr Jurati on screen silently watching the synths building their beacon.

Commodore Oh’s generic “evil villain” moment.

The gold makeup used for the Coppelius synths – Sutra in particular, as she was featured most prominently – was just awful. It looked like something out of The Original Series, and I don’t mean that in any way as a compliment. If I’d seen characters on The Original Series so poorly made-up I’d have written it off as a limitation of the medium at the time, and tried to get on with the story. Characters like Bele and Lokai from Let That Be Your Last Battlefield look similarly ridiculous by today’s standards, but with all of the improvements made over the last fifty years… I can’t excuse how poor practically all of the synths looked.

The problem of a lack of diversity in outdoor filming locations plagued Picard Season 1, but it came to a head in Et in Arcadia Ego because it was the finale. In short, the ten-episode season attempted to depict locations on Earth, including France and Japan, as well as the planets of Vashti, Nepenthe, Aia, and Coppelius using outdoor filming locations within a few miles of Los Angeles. And this was painfully obvious as the season wore on, leading Picard Season 1 to feel smaller and less visually interesting as a result. If Coppelius needed an expansive outdoor filming shoot, then other worlds could – and should – have been created on indoor sound stages if long-distance location shoots were out of the question.

Look, it’s California… oops, I mean Coppelius!

Both parts of Et in Arcadia Ego ruined the surprise appearance of a returning actor from The Next Generation. Brent Spiner’s role in Part 1 was telegraphed in the opening credits before his character had appeared on screen, but most egregiously the mistake was repeated in Part 2, where the return of Jonathan Frakes’ Acting Captain Riker was spoiled in the opening credits. The scene where Riker arrived at the head of a massive Starfleet armada to defend Coppelius was treated on screen like a huge surprise, but the fact that he was coming had been telegraphed in advance by the opening credits.

How difficult would it have been to credit special guest stars at the end instead of at the beginning? This also happened with Jeri Ryan’s Seven of Nine in the episode Absolute Candor earlier in the season – a character who appeared right at the end of the episode, in that case, and whose arrival was also treated as a surprise. For fans who don’t follow all of the ins and outs of Star Trek, the fact that any of these characters were coming back was supposed to be a total surprise, and both halves of Et in Arcadia Ego treated their returning guest stars in this way. But their unnecessary inclusions in the opening titles detracted from it. Riker’s arrival in particular felt far less impactful than it should’ve been; by the time the story reached the point of Picard standing alone against the Romulan armada, it was obvious that Riker was coming to save the day.

This shouldn’t have happened in the opening titles.

Speaking of the two fleets, the fact that both the Romulan and Starfleet armadas were comprised of a single starship design each seriously detracted from the way they looked. The copy-and-paste fleets were big, which was visually impressive at first glance, but the longer they remained on screen the more obvious it was that the CGI animators had literally copied and pasted each ship dozens of times.

Fleets seen in past iterations of Star Trek were almost always comprised of a variety of different starship types, and there was the potential to use this moment as fun fan-service, perhaps bringing back Romulan warbirds and scout ships from The Next Generation era, as well as Federation starship types like the Defiant-class, Sovereign-class, and Galaxy-class. Heck, Picard Season 1 had already made a brand-new CGI Galaxy-class model for the premiere, so it couldn’t have been too much extra work to include it here.

The Romulan and Federation fleets were copy-and-paste jobs and looked the worse for it.

As a final point on the technical side of things, I’m sorry to say that, despite a great performance as Soji across the rest of the season (and as Dahj in the premiere), Isa Briones was not convincing as Sutra, the central synth villain. Her performance was incredibly hammy, and while the character was written sufficiently well that her basic motivation – to protect the Coppelius synths from an outside attack – should have been understandable and even potentially sympathetic, the “I’m evil for no reason and I love it” performance was so bad that it detracted from the character.

Although Sutra being so easily shut down in Part 2 meant that the character as a whole felt like a waste, and was not the angle I would’ve wanted the show to take, in a way I was glad that we were spared too much more of what has to be the entire season’s single worst acting performance.

Sutra with Admiral Picard.

In terms of story, let’s talk about the big picture first of all before we get into smaller narrative complaints. The super-synths that Sutra and Soji planned to contact were so barebones as a faction that they don’t even have a proper name. Their “admonition” – i.e. the vision that the Zhat Vash encountered from their beacon – was superficially intimidating, and the mechanical tentacles that we saw approaching the beacon at the climax of the story likewise looked frightening… but without knowing more about this faction, it was difficult to remain invested in this story.

We didn’t know what the super-synths would’ve done had they arrived. Would they have sought to exterminate all organic life everywhere, or just in the vicinity of Coppelius? Having exterminated, would they have taken the super-synths to live with them in “dark space?” Was their offer to help even genuine or was it an elaborate trap to conquer the Coppelius synths and steal their technology? We have so many open questions, and because it seems that Star Trek won’t be returning to the super-synths any time soon, they’ll be left open and this aspect of the story will remain less than it could have been.

Some mechanical noodles were all we got to see of the super-synths.

In monster movies – which Et in Arcadia Ego’s super-synths were, to an extent, trying to emulate – we don’t always know everything about the monster. We might not know where Godzilla came from or why the Xenomorph in Alien is going on the rampage, but we at least have some perspective or frame of reference to understand why they should frighten or unnerve us – we’ve seen for ourselves how destructive and deadly the monster can be. The super-synths were barely glimpsed, and while their beacon was interpreted by the Zhat Vash as being dangerous, what we as the audience saw of it on screen was ambiguous at best. Because of that, the super-synths are more mysterious than frightening, and with no frame of reference to go on to showcase their level of technology, weapons, or danger, they’re less interesting and less frightening than they should’ve been.

During my first watch of Et in Arcadia Ego, I referred to the super-synths as the “Mass Effect Reapers” because of their similarities to a faction from the Mass Effect video game series. On re-watching the episodes, those similarities are really hammered home, even to the point where the vision contained in the Zhat Vash’s beacon and the beacon encountered by Commander Shepard in the first Mass Effect game contain striking visual similarities. I can’t believe that this is entirely a coincidence, and while I don’t want to accuse anyone of “ripping off” anyone else… it’s at the very least noteworthy that this aspect of the storyline of Et in Arcadia Ego – and thus of Picard Season 1 as a whole – is not original.

We could play a game called “Mass Effect or Star Trek: Picard?” with some of these sequences.

In the episode The Impossible Box, Narek walked Soji through a complicated series of steps to help her understand a dream she’d been having. His motive was to find out the location of her homeworld – Ghoulion IV or Coppelius. At the end of Soji’s dream, she looked up to the sky and saw two red moons and a lightning storm, leading Narek and Rizzo to conclude that they had enough information to locate Soji’s homeworld.

We subsequently learned that the Romulans had a fairly narrow search area and only needed to look within a few different star systems, so it seems reasonable that only a couple of pieces of information might be enough to go on if there aren’t that many possibilities. But when we finally reached Coppelius a couple of episodes later, the red moons were present – but where were the thunderstorms? This had been an absolutely essential part of the plot of The Impossible Box, yet the weather on Coppelius was sunlit and beautiful – some might say almost California-like. There were literally only two bits of information conveyed in The Impossible Box that Narek and Rizzo used to pinpoint Soji’s home planet… and one of them was completely disregarded in Et in Arcadia Ego.

This moment told us two things about Soji’s homeworld. Et in Arcadia Ego ignored one of them.

Speaking of being completely disregarded… what happened to poor Narek? I know Narek wasn’t everybody’s favourite character in Season 1, but I felt he was interesting as a character who didn’t fall into the obvious trap of being a clichéd “spy with a heart of gold” who falls in love with his target. Narek remained loyal to the Zhat Vash cause, even though his relationship with Rizzo was complicated and despite his feelings for Soji.

For Narek to simply be abandoned by the story of Et in Arcadia Ego is disrespectful – not only to actor Harry Treadaway, who had put in a great performance – but to us as the audience. We’d been following Narek’s story since the second episode of the season, and as he approached what should’ve been his moment of triumph, and then his moment of defeat, he just vanished from the story altogether.

This was the last we saw of Narek.

At the very least it would’ve been worth following Narek’s story to some kind of conclusion. I’d have liked to see how he reacted to Soji shutting down the beacon – would seeing that have finally broken his Zhat Vash brainwashing? Would he have tried to apologise to her and the rest of the synths? Or would he have stayed true to his mission even while being taken into custody by Starfleet or the synths?

We don’t know the answer to any of these questions, and while there is supposedly a scripted but unfilmed scene in which Narek was handed over to the Federation, that hardly seems like rock-solid “canon,” does it? Picard Season 1 didn’t actually feature that many characters in a big way, so for one of the principals to simply be dropped with no explanation midway through the finale is indicative of the fact that this two-parter had far too much narrative to cram into its runtime. It was poor, and whatever viewers might’ve thought of Narek and the earlier scenes and sequences in which he starred, getting some closure on one of the season’s most important characters was necessary.

Narek had been a major character throughout the season.

In an overstuffed story with some very serious themes, there were some very odd choices. Dr Jurati and Picard making jokes while launching La Sirena into orbit felt out-of-place, but thankfully that didn’t last very long. What did last a long time, though, in the context of the story, was the very odd campfire scene with Narek, Raffi, and Rios.

This scene was a complete waste of time. As the audience, we already knew what the Zhat Vash prophecy and philosophy was by this point, so re-telling it in a “ghost stories by the campfire” cliché was unnecessary fluff in an episode that simply didn’t have so much as a second to spare. Secondly, this scene messes with the timing of the entire episode. Narek seemed to be in a mad rush to attack the synths’ compound and stop their beacon, and if we’re to believe that Raffi and Rios had been persuaded too – which appears to have happened in a very short scene aboard La Sirena that really needed to be extended – then the characters themselves shouldn’t be wasting time camping out. It’s also the only scene in the entire episode to take place after dark, which was obviously done to make the campfire more visually dramatic… but the rest of the story seems to have taken place over the course of less than one day, so when did this night occur and why didn’t anyone else on Coppelius experience it? In short, it wasn’t just an unnecessary scene, but one that breaks the continuity of the whole story.

The campfire.

After the campfire scene we came to the poorly-scripted bomb plot. Using grenades donated by Narek and a football that Rios had aboard La Sirena, the trio planned to smuggle a bomb into the synths’ compound and blow up the beacon. I didn’t understand why the synths’ compound was suddenly being guarded as the group approached – except, of course, to ramp up the drama. From the synths’ point of view Raffi and Rios were no threat; they’d been on friendly terms when they parted, so why hassle them?

Dr Soong joined in after they arrived at Coppelius Station, but even he couldn’t salvage what was an illogical and stupid “plan.” Dr Soong had two aces up his sleeve: the video evidence that proved Sutra, not Narek, was responsible for murdering Saga, and his “magic wand” weapon that could apparently disable synths at the push of a button. He used the latter once, on Sutra, and then disappeared entirely from the plot until after Picard’s “rebirth.”

Dr Soong was able to “shut down” Sutra… but then made no further contributions to the plan to attack the beacon.

After the remaining trio made a stupid full-frontal attack against the much larger group of synths, it fell to Rios to try to throw the bomb-ball into position… but, naturally, Soji was able to clear it with seconds to spare.

This entire operation was so stupid, and was clearly written to ensure that the heroes’ plan would fail, meaning it would be up to Soji and Picard to save the day. And I won’t dismiss Picard’s speech and the emotional impact of Soji’s decision to stand down – both of those aspects felt great. But they were, unfortunately, sabotaged by this awfully-scripted bomb plot which made no sense, and the immediate disappearance of everyone involved in its aftermath.

Soji was able to easily stop the bomb plot.

Here are just a few of the questions this sequence raised: why didn’t Dr Soong show the footage of Sutra to the other synths? Why didn’t Dr Soong use his “magic wand” on Soji? Why didn’t Rios and Raffi try to talk to Soji and explain the dangers of the super-synths? There was so much wrong in this one sequence, and it was contrived in such a way as to skip over any and all of these points to get to the standoff between Soji and Picard, and Picard’s convincing speech. Unfortunately the route to that otherwise powerful moment felt so unnatural that it detracted from it.

After the bomb plot and the speech, things took a turn for the better, and much of the remainder of Et in Arcadia Ego hit those emotional high points, and as the rushed, almost panicked pacing and editing gave way to a slower-paced story of laying Data to rest and restoring Picard to life, things did improve.

Picard’s “death” marked a turning point in the story.

Unfortunately, though, Et in Arcadia Ego ended with many questions left on the table. Having arrived just in time to save the day, is the Federation now committed to leaving an entire fleet in the Ghoulion system to defend Coppelius? If not, it seems like there’s nothing to prevent the Romulans from returning next week and obliterating the synths from orbit. Or perhaps the synths will need to be evacuated and taken to a new, safer location. If so, we saw no indication that Starfleet plans to help with that.

There was also no attempt made to explain Bruce Maddox’s visit to Freecloud, which had been a huge story point in the first half of the season. Maddox’s lab on Coppelius clearly hadn’t been “raided by the Tal Shiar,” and if we’re to understand he set up a second lab somewhere else for some unknown reason, why didn’t he return to Coppelius if it was destroyed; why go to Freecloud instead? This opens up a pretty big plot hole in the entire season, as Maddox now has no reason to go to Bjayzl – a dangerous woman to whom he owed money – other than “because plot.” Maddox was there simply to allow the rest of the story to unfold, and that just isn’t satisfying at all.

Why did Dr Maddox go to Freecloud?

And this is just one way in which Et in Arcadia Ego damages the entire first season of the show. With so much rushing around in the final two episodes, with brand-new characters, new civilisations, new factions, new antagonists, and whole new storylines being dumped into the show with two episodes remaining, it makes going back and reflecting on the rest of the season somewhat difficult. Was the deliberately slow pace of episodes like Maps and Legends too much? Should the side-stories on Vashti and Nepenthe have been cut down… or skipped altogether?

Nepenthe was, for me, one of the most enjoyable episodes of Star Trek that I’ve seen in a very long time, and spending time with Picard, Riker, and Troi after so long felt absolutely magical. We caught a glimpse of their retirement, the family life that they deserved to have after their rollercoaster relationship and the tragedy of the loss of their first child. And it was wonderful. But in retrospect, all of that time with Kestra and Soji bonding and Picard catching up with his old friends, cooking pizza in an outdoor oven and hanging out in a cabin in the woods just feels wasted. There was too much plot left for Picard Season 1 to get through, so either stories like Nepenthe needed to be cut down or, realistically, the season needed to be extended. One of the advantages of streaming over traditional broadcast television is that things like schedules don’t mean much – it’s far easier to add an extra episode or a few minutes here and there if necessary. Discovery did exactly that in its first season… why couldn’t Picard?

Picard and Riker’s reunion in Nepenthe.

That’s the real tragedy of Et in Arcadia Ego: the way it makes eight genuinely wonderful episodes feel worse in retrospect. We aren’t quite at the level of something like Game of Thrones, where a truly awful ending has made going back to re-watch earlier seasons feel downright unpleasant, but we’re in the same ballpark.

The sad thing is that the synths’ storyline wasn’t bad. Dr Soong wasn’t a bad character, and if he’d had more time on screen I think we could have got more of a nuanced portrayal that showed us a man doing his best to work around the synth ban and keep his people safe. We could’ve learned why he wanted to build a golem for himself – was he dying? Was he trying to become immortal? What drove him to pick up his father’s work? All questions that Et in Arcadia Ego left on the table.

Coppelius Station – home of the synths.

Likewise with Sutra. Despite the crappy makeup and the poor, hammy performance, there was the kernel of an interesting character at Sutra’s core. Her presence turned the synths from a group in need of rescue into a potential danger, and that concept – had it been executed better over a longer span of episodes – could have been interesting.

The super-synths, despite their similarities to the Reapers from Mass Effect and their blink-and-you’ll-miss-it appearances on screen, had been the driving force for the entire season’s plot, and learning more about who they were and what drove them, whether their offer to help was genuine, and whether they had any connection to other Star Trek factions were all points that could’ve been explored. The super-synths, while hardly an original faction in a broader sci-fi environment, were something new to Star Trek, and as Trekkies I think we have a great curiosity about the Star Trek galaxy and the races present within it. Finding out more about the super-synths would have been fun.

I’d like to know more about the super-synths.

There was also the standoff over Coppelius itself. We’ve already covered how the copy-and-paste ships didn’t look great, but as a story beat this entire sequence was rushed. After Picard and Dr Jurati made their “last stand,” Acting Captain Riker showed up at the last second, positioning his fleet in between the Romulans and Coppelius. And then he opened hailing frequencies to talk to Commodore Oh.

Within moments, the zealous Zhat Vash commander had been convinced to withdraw rather than fight it out… and I think that fails as a convincing narrative beat. The Zhat Vash had been portrayed for the entire season as having an almost-religious zeal; a crusade against synthetic life born out of fear of total annihilation. And in mere seconds, Commodore Oh appeared to abandon that crusade. When faced with opposition, she chose not to fight but to withdraw.

Riker’s appearance – and the entire standoff – was too short.

The two fleets looked surprisingly well-matched, and I would have thought that Commodore Oh would have had a chance, at least, of going toe-to-toe with Acting Captain Riker. It wasn’t like the Federation armada had the Romulans horribly outnumbered. And all it would have taken, from her point of view, was for one ship to break through the blockade and fire on Coppelius Station – a single quantum torpedo would probably have done the job.

Commodore Oh and the Zhat Vash simply don’t seem like the types who would come this close to achieving their life’s ambitions – and remember that Oh had been embedded in Starfleet for literally decades – only to be scared away by a few Starfleet ships or convinced to change their lifelong aims by one speech and the beacon being shut down. At the very least, this was yet another sequence which needed much more time to unfold. Heck, I could have happily spent an entire episode on the standoff, with negotiations taking place between Federation and Zhat Vash representatives. The Zhat Vash needed to be talked into withdrawing; I don’t believe that seeing Picard’s speech and Riker’s fleet was anywhere near enough motivation for Oh to take her entire fleet and withdraw, and if it was, we needed to spend a lot longer getting to that point, seeing her agonise over the decision, perhaps facing down mutinous members of her own organisation, and so on.

Commodore Oh’s decision to withdraw was horribly rushed.

So we come back to the crux of why Et in Arcadia Ego didn’t succeed as a finale: it contained plenty of interesting characters and storylines, but didn’t have enough time to pay off most of them in anywhere close to a meaningful way. And as a result, it doesn’t feel like most of Picard Season 1’s storylines came to an end at all. Some, like Narek’s, were just completely abandoned; unceremoniously dumped with no explanation given. Others, like Dr Soong’s, were completely undeveloped, leaving him along with Sutra and several other characters feeling like one-dimensional plot devices instead of real people.

The disappointing thing, at the end of the day, isn’t that the ideas and storylines here were bad, it’s that none of them were allowed to play out in sufficient depth. With the possible exception of laying Data to rest, every single storyline that Et in Arcadia Ego brought into play or introduced for the first time were underdeveloped, cut short, and/or not sufficiently detailed. Some individual scenes and elements were less successful in their own right – like the performance of Sutra or the campfire sequence – but taken as a whole, what I wanted from Et in Arcadia Ego was more – more time for these characters, ideas, and narrative elements to play out. It feels like practically nothing in Et in Arcadia Ego saw justice done, and when I had been invested in the story, the characters, and this return to the 24th Century after such a long wait, that was disappointing.

Dr Soong.

As we approach Season 2 of Picard, which kicks off in just one week from today, I hope that the show’s writers and producers have taken on board the feedback that they surely received about Et in Arcadia Ego. The show’s second season can’t afford to repeat the mistakes made by the ending of its first, and if Picard is to end with Season 3, as some news outlets have been reporting, then it’s going to be even more important for the creative team to consider the problems of Et in Arcadia Ego and make sure that the series as a whole won’t end in such disappointing fashion.

There were successes along the way – great moments of characterisation with Admiral Picard, the “heroic last stand” story that always gets me no matter how it’s told, and of course saying a proper goodbye to Data after eighteen years. The emotional moments present in the latter half of Part 2 went some way to making up for earlier disappointments.

I can’t call Et in Arcadia Ego a failure. It brought together storylines that, even two years later, I find fascinating. The disappointment stems from the fact that those stories weren’t able to play out properly due to unnecessary time constraints, a rushed pace, and, in retrospect, eight preceding episodes that spent too long reaching this point. With Season 2 now upon us, I’m hoping for much better things from Star Trek: Picard!

Star Trek: Picard Season 1 is available to stream now on Paramount+ in the United States and on Amazon Prime Video in the United Kingdom and around the world. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Looking ahead to The Rings of Power

Spoiler Warning: There are minor spoilers ahead for The Lord of the Rings films and for The Lord of the Rings: The Rings of Power.

It’s been several years since Amazon announced that it had purchased the rights to make a television series based on J.R.R. Tolkien’s work. In that time, the corporation has kept a tight lid on the show’s progress, and very little news has trickled out. However, with the series aiming to premiere later this year, Amazon has kick-started the marketing push! After the show’s actual name was finally revealed a couple of weeks ago, we got a few different poster designs, and then a few images featuring some of the cast, before the first official teaser trailer made its debut a few days ago.

Today I thought it could be interesting to look at what’s been revealed and teased so far, and see what we might be able to gleam about The Lord of the Rings: The Rings of Power. This is going to be the most expensive television series ever created, and was greenlit out of the gate for five seasons. Intended to be Amazon’s answer to Game of Thrones, the show aims to build on the renewed success that the high fantasy genre has been experiencing. Based on Amazon’s financial commitment we should be in for a series with high production values and great visuals – one which can push boundaries and set a new high bar for television in general. That might sound like I’m asking for too much, but with a billion dollars on the line and competitors like Disney doing some incredible things with visual effects on streaming shows like The Book of Boba Fett, anything less would be underwhelming in the extreme.

Morfydd Clark as Galadriel in a promotional image.

First up, let’s talk about the title. I’m sorry, but The Lord of the Rings: The Rings of Power is an incredibly clunky, unwieldy title for a television series. In its short form, I guess we’ll be referring to the series as The Rings of Power, which is better! But the first thing that struck me was that it wasn’t a particularly inspired or original title. It frames the new series entirely around the rings Sauron had made for the Elves, Dwarves, and Men of Middle-earth, and that seems to take the series back to the familiar story that we’ve already seen play out.

Rather than this prequel using Tolkien’s work as a base for building its own story, the title seems to suggest that we’re really going to be seeing earlier chapters in the story we already know. There was scope, when stepping back literally thousands of years, to do something different. Early rumours suggested that the series might look at the rise and fall of Númenor, one of the kingdoms of Middle-earth that was extinct by the time of The Lord of the Rings, and while Númenor’s story may indeed play a role, the title of the series now suggests that we’re really going to be focusing more on Sauron and his rise to power.

Is this Númenor?

Such a focus makes The Rings of Power more of a direct prequel to the events of The Lord of the Rings and less of an expansion of Middle-earth and Tolkien’s work on the small screen. That isn’t to say it will be bad as a result – but The Rings of Power will be confronted by the typical “prequel problem” that many such productions face: namely, we already know how this story ends. We’ve already seen what is arguably the more interesting part… so just convincing people to stick around and see what came before is automatically a challenge for The Rings of Power to surmount, one that wouldn’t have been present if the series had been structured differently.

Over the past few years since Amazon announced this project, I’ve heard a lot of people saying that the corporation shouldn’t be using the placeholder title “The Lord of the Rings on Prime” because the new series isn’t going to be about The Lord of the Rings. But it now seems that it actually is going to be all about the One Ring, Sauron, and his rise and fall. I’m not the only one who had been expecting the series to go in a different direction, and I think that the decision to stick closer to the established, familiar story represents a lack of boldness on Amazon’s part. Having spent all of this money for the rights to Middle-earth, there may have been a fear that steering away from established characters and storylines would be detrimental to the show’s prospects.

The character of Bronwyn – a healer and single mother, played by Nazanin Boniadi – was created for The Rings of Power.

On the flip side, I’ve heard fears from some fans that The Rings of Power will stray too far from Tolkien’s stories, so I guess there’s no way to satisfy everyone! For those folks, though, I would suggest that the title of the series, and the fact that characters like Elrond, Galadriel, and others will play significant roles means that it can’t be diverting too far away from storylines we might be familiar with.

It’s been a long time since I read The Hobbit or The Lord of the Rings, and I don’t claim to be a Tolkien super-fan who knows all of the ins and outs of Middle-earth and the stories set there. So from my point of view, if the show’s central story arcs are engaging and exciting, they can dip in and out of the so-called “established canon” of Tolkien’s world at will. The same applied in some respects to Game of Thrones, a series which moved progressively further away from its source material season by season. If the stories continue to be well-written and entertaining, and the world populated by fun characters, that’s going to go a long way to making up for any deviations from the stories Tolkien wrote.

Charging horses seen in the teaser trailer.

In terms of the look of The Rings of Power, there’s definitely a heavy influence from the Peter Jackson films. I noted in the poster of King Durin in particular that the Dwarves seem to be modelled on those we remember from The Lord of the Rings and The Hobbit trilogies. In other areas, The Rings of Power has seemed to move away and begin to chart its own course, but this will likely be a balancing act that the series will need to keep up for its entire five seasons. New showrunners, designers, and other creatives will always want to stamp their mark on their creation, but if Amazon is banking on fans of The Lord of the Rings films turning up in droves – and nostalgia for those films being a driving force – then it makes sense to expect to see many familiar visual elements.

There will be a marked change after Season 1, though, with production moving from New Zealand to the UK. New Zealand has become practically synonymous with Middle-earth for many folks because of The Lord of the Rings being produced there, and the country has even traded on that, using Middle-earth to bring in tourism. Unfortunately it’s the fault of the pandemic that production had to be moved, but we won’t see the consequences of that – in either a positive or negative sense – until next year. It’s possible, in my view, that if Season 1 is deemed underwhelming the second season could be a soft reboot, changing up the look and feel of the series. Time will tell!

Robert Aramayo as Elrond and Morfydd Clark as Galadriel.

The trailer itself was action-packed and looks exciting. We saw different races (Men, Dwarves, and Elves) featured, as well as a few magical creatures and CGI monsters that I confess I’m not familiar with. But the whole thing was well constructed and cut together, and I think it showed off a diversity of characters and locations without revealing too many spoilers or too much about the potential storylines. It was a tease to get viewers interested, and I think it largely succeeded in that regard.

I noted what could be either a sinking ship or, perhaps, the sinking/destruction of the island of Númenor among the clips in the trailer, something that was also shown off in one of the behind-the-scenes photos. There was also what appeared to be a large battle taking place; this can’t be the climactic battle between Sauron and the Last Alliance, surely, because it was that battle that led to Sauron’s defeat and the loss of the One Ring. So I assume that this battle is taking place somewhere else between different groups of forces.

A battle scene from the teaser trailer.

There is definitely a contingent of people who want to see The Rings of Power fail, either because they dislike Amazon in a general sense, or because they see The Rings of Power as moving too far away from their understanding of Tolkien’s works. Personally, I don’t think it’s fair to pre-judge the series at this stage, with a one-minute-long teaser and a handful of photos being all we’ve seen, and I’d encourage everyone to try to lower the temperature in some of these discussions. There’s definitely a racial edge to some of the attacks I’ve seen thrown at The Rings of Power, with some so-called “fans” decrying the inclusion of non-white performers.

Because of Amazon’s status as one of the biggest companies in the world, I guess I can understand the bloody-mindedness of wanting to see it fail – even though it isn’t a sentiment I share. But to have decided already, months before the premiere, that The Rings of Power is somehow going to be unenjoyable – particularly if one of the primary reasons for thinking that way is because non-white actors are in it – seems utterly ridiculous to me. For some of these so-called “fans” to be actively willing the series to fail because it isn’t as white as they wish it would be is just pathetic.

The Rings of Power is coming soon.

As a fan of fantasy, and as someone who has enjoyed Tolkien’s work since I first read The Hobbit before I was ten years old, I want to enjoy The Rings of Power and for it to be an enjoyable and entertaining ride. Some of Amazon’s past productions in the sci-fi and fantasy genres – like The Expanse and The Wheel of Time – have been great, and while this project is certainly bigger and more ambitious, and thus has farther to fall if it doesn’t work, the potential exists for a fantasy series that could be on par with, or even eclipse, those early seasons of Game of Thrones. Amazon certainly has precedent and knows how to make some excellent television shows.

But I will judge the series on its merits when it’s here, and if I review it either as a whole season or as individual episodes I’ll be sure to give my honest thoughts and opinions at the time. I’m not a cheerleader for Amazon, but I’m certainly not going to go on the attack this early on. In my view, the trailer and photos show promise. Everything from costumes and set design to CGI work looked impressive, and The Rings of Power should be on course to make good use of its high budget in that regard. Whether the show’s writing, pacing, editing, acting performances, and the like are up to scratch… the jury is still out and we won’t know until September! But anyone pre-judging the series this early is, in my view, misguided.

The Lord of the Rings: The Rings of Power will premiere on Amazon Prime Video in September. The Lord of the Rings: The Rings of Power is the copyright of Amazon, and The Lord of the Rings, Middle-earth, and other properties are the copyright of the Tolkien Estate. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery theories – week 9

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Season 1-4, Star Trek: Picard Season 1, and for other iterations of the Star Trek franchise.

After All In failed to move the needle in a major way, Rubicon came along! The latest episode saw a minor theory cull, with three theories being debunked – and a couple of others moving ever closer to being struck off the list! As the season builds up to its conclusion, this was bound to start happening, and I don’t lament the passing of any of the theories that didn’t pan out. We also had a rare confirmation this week, and with fewer new theories to talk about, the list will shrink for the first time in several weeks!

On reflection, perhaps I was a little harsh on Rubicon in my review. The episode was decent, but it suffered because I find myself struggling to get invested in the Book-versus-Burnham relationship squabble storyline, and that’s been a dominant force over the past couple of episodes in particular. I’m still hopeful that Discovery will find a sensible – and fairly quick – resolution to this, but at the same time I think I need to try to be less petty about it!

So let’s take a look at the confirmation and the debunkings before we jump into the main list.

Confirmed theory:
Tarka’s weapon will be successful.

Kaboom!

The obvious path for a “happily ever after” kind of story would have been for Captain Burnham and the crew to stop Book and Tarka before they had a chance to use their weapon. And, to her credit, Captain Burnham was inches away from success as she managed to talk to Book and convince him not to deploy the weapon.

But I guess that in her haste to patch things up with her boyfriend, Captain Burnham forgot about Tarka. And Book likewise didn’t make sure that Tarka was on board with his decision to wait for the communication attempt, as Tarka launched his weapon the second Book and Burnham finished their conversation.

Tarka launched his weapon.

I’m glad that the story took this route. It potentially opens up a more interesting meeting with Unknown Species 10-C, one with more tension and the possibility of conflict. But most importantly, Tarka remained true to his characterisation. He didn’t back down just because Book had a change of heart, and he wasn’t able to be persuaded by Captain Burnham’s request.

Tarka remains an interesting adversary. I don’t want to call him a “villain,” not exactly. He has a complexity and a nuance that makes his motivation understandable, even if his “ends justify the means” approach could very well lead to people getting hurt. I’m not ready for Discovery to get rid of Tarka… and I confess that I’m still rooting for him to find a way across the divide between universes.

So that theory was confirmed.

We also have several debunkings to get through, so we’ll run through those next!

Debunked theory #1:
Nhan works for Section 31.

Nhan in Rubicon.

This was a fairly straightforward one by my standards! When we saw Nhan in the promos for Rubicon, I theorised that she might be wearing a different uniform to the standard Starfleet ones worn by Captain Burnham and the crew because she had been recruited by Section 31. She could have been given a Section 31 mission aboard Discovery – perhaps connected to the DMA.

But it didn’t come to pass! Nhan works for Starfleet Security, and has spent some time as a soldier helping the Federation battle against the remaining forces of the Emerald Chain. She doesn’t appear to be making a big return to Discovery, either, merely appearing in a guest role in Rubicon.

Debunked theory #2:
Tarka will realise that there’s a tracker on the isolynium.

Tarka and Book working on the isolytic weapon.

This was another fairly simple one by my standards. In short, I speculated that Tarka would check the isolynium that Book procured and figure out that a tracking device had been placed on it. It seems like the kind of thing he might’ve done; he’s been thorough when it comes to his work, and he clearly didn’t fully trust Haz Mazaro.

But Tarka didn’t check, or if he did off-screen he didn’t find the small tracking device that Captain Burnham had placed. If this theory had panned out we could’ve seen Captain Burnham and the crew having to pick up the trail another way, or even being led into a booby-trap of Tarka’s devising! In a longer season, perhaps such a detour would have made sense. With only four episodes left, I guess wasting an episode chasing down Book and Tarka would’ve been extraneous fluff.

(Probably) debunked theory #3:
The DMA is (or was) a life-form.

The DMA in Rubicon.

It was never stated outright in clear-cut terms, but this theory now feels sufficiently unlikely that I’m striking it from the list. If the DMA was alive… it isn’t anymore! Tarka’s weapon saw to that. The arrival of a second DMA within moments of the demise of the first seems to confirm that the destructive anomaly is little more than a tool; the dredge or mining equipment that Captain Burnham and others figured out at the end of All In.

Unknown Species 10-C could still be a synthetic race, so the concept of a life-form on the scale of the DMA is still plausible in Discovery Season 4. But the DMA itself now seems certain to be little more than a tool – whoever is controlling it is the sentient one. It might’ve been interesting if the DMA had been alive, with a story similar to The Motion Picture perhaps unfolding from that premise. But now we must look to Unknown Species 10-C!

So those theories have been debunked!

Now let’s jump into the main theory list, beginning with those theories that are either new or saw movement in Rubicon. Then we’ll conclude with a few theories that are still in play, but which Rubicon didn’t touch.

Theory #1:
Unknown Species 10-C built the Galactic Barrier.

The USS Enterprise approaching the galactic barrier.

I’ve never been wild about the Galactic Barrier in Star Trek. It’s something that dates right back to the very beginning of The Original Series, but it’s always struck me as a bit of an oddity; an element of pure fantasy in a setting that prefers to base its astronomy on real science. The Galactic Barrier is also rather poorly explained, and can seemingly be ignored at the whim of Star Trek’s writers – some episodes depict crossing it as being impossible, others show starships moving through it with ease. It also feels like a 2D anachronism in the 3D realm; unless the galactic barrier is a sphere, surely flying up and over it should be possible!

But maybe we’re about to learn more about this strange phenomenon. Given their technological capabilities, it doesn’t seem impossible that Unknown Species 10-C constructed the Galactic Barrier – perhaps as a way to shield themselves from the races of the Milky Way, or perhaps to keep anyone from exploring too far and discovering their location. There are many reasons why a technologically advanced race might want to build something on this scale – and we could even learn that the harvested boronite is being used to fuel the Galactic Barrier itself.

The Enterprise-D is one of a number of vessels known to have passed through the Galactic Barrier.

One possible explanation for why Unknown Species 10-C might want to build something like the Galactic Barrier is to keep the Milky Way’s inhabitants in… but it could also be a shield designed to keep someone else out. That raises a very frightening question: what could be so powerful that a barrier is needed around the entire galaxy? And what could be so dangerous that being locked inside a galaxy with the Borg would be preferable?

With Unknown Species 10-C seemingly being very secretive, I think the idea of them building it to shield themselves is more likely… but there are definitely a lot of ways this theory could go!

Theory #2:
Someone else built the Galactic Barrier to keep Unknown Species 10-C out.

The Galactic Barrier on the USS Enterprise’s viewscreen.

If the Galactic Barrier is an artificial construct, perhaps it was created by another race or faction as a shield against Unknown Species 10-C. It could be the case that Unknown Species 10-C has used DMA technology against the Milky Way in the distant past, and some other race or faction constructed the Galactic Barrier to keep them out. If Unknown Species 10-C are belligerent and interested in conquest, it might take something on a galactic scale to keep the Milky Way safe.

The Q Continuum spring to mind as a possible candidate if the Galactic Barrier was artificially created. Admiral Vance mentioned the Q a few episodes back, saying that there hadn’t been any contact for more than 600 years. Given that the Q – or at least one member of the Continuum, at least – were very interested in the progress of races like humanity, perhaps they took a decision to “seal” the Milky Way to protect its inhabitants from Unknown Species 10-C.

Traversing the Galactic Barrier could be very dangerous…

Obviously this theory and the one above can’t both be right! And it’s a distinct possibility that the Galactic Barrier element of the story is just a convenient macguffin to blind Starfleet to Unknown Species 10-C and prevent easy travel to their region of space, dragging out the story and prolonging attempts at communication so other narrative threads could play out.

If that’s the case, we may learn nothing about the Galactic Barrier in the episodes that lie ahead! However, I still think it’s interesting to consider the possibilities, and it could be fun to finally get some more detail on this lesser-known but significant aspect of the Star Trek galaxy.

Theory #3:
Tarka’s mysterious “friend” is someone we’re already acquainted with.

At this point in the story, there’s no need to conceal the identity of Tarka’s friend – unless the revelation of this person’s identity is going to be a huge surprise. It’s possible that there is no Unknown Species 10-C, for example, and that Tarka’s friend is the one responsible – a theory we’ll look at in more detail in a moment! But it has to be considered a possibility that Tarka’s friend is someone we’ve already met, either in Discovery or in another iteration of Star Trek.

Rubicon hammered home Tarka’s desperation to reach his friend, and All In had given us a quote from Tarka about his grief at this person’s loss being unfathomable. Perhaps that was hyperbole on the part of someone very self-centred, but even so it feels like there’s more going on with this mysterious character. If there’s nothing special about them, and they’re just a brand-new character called something like Albert or Gladys, then why go to such trouble to keep their identity hidden during every conversation? It’s setting up a mystery – and for Discovery’s sake I sincerely hope it goes somewhere!

I put together a short list of possible candidates for being Tarka’s mysterious friend, and you can find it by clicking or tapping here.

Theory #4:
Unknown Species 10-C is a faction from a past iteration of Star Trek.

Could Unknown Species 10-C be the Kelvan Empire?

Rubicon didn’t do much to advance this theory – though the DMA controller seemed to bear a very superficial resemblance to omega molecules and possibly Borg tech – but comments from Discovery’s showrunner during a social media event may indicate that this theory isn’t going to pan out, despite the mysterious elements and references to past Star Trek shows scattered throughout the season. In short, Michelle Paradise spoke about “designing” Unknown Species 10-C and how they’re “unlike any species we’ve seen before.”

It’s still possible that we’re dealing with a faction like Picard Season 1’s super-synths, who were only seen on screen very briefly, or an extensive redesign of a race like the Borg to reflect centuries’ worth of technological progress. But I felt it was worth bringing this up, as it’s certainly our biggest indication to date that Unknown Species 10-C may be someone brand-new to the franchise.

Showrunner Michelle Paradise recently dropped a hint about Unknown Species 10-C.

I said last time that I was beginning to get a sense of déjà vu. Many of the suspects for Unknown Species 10-C also felt like plausible culprits for the Burn in Season 3 – and the way that storyline ultimately wrapped up was unpredictable (to say the least). As Trekkies who are invested in this fictional setting, I think there’s always going to be a desire to speculate and theorise about how big events in new stories could be connected to the elements from elsewhere in the franchise… I just hope that the ultimate reveal of Unknown Species 10-C doesn’t prove too disappointing if it has nothing to do with Star Trek’s past.

All that being said, there are still some plausible suspects, even if the DMA’s level of technology would seem to rule out many familiar races. The Borg, Enterprise’s Sphere-Builders, the extragalactic Kelvan Empire, V’Ger, Species 8472, the Q Continuum, and the Terran Empire are all high on my list! For a more detailed look at them, as well as a few less-likely contenders, check out my full list by clicking or tapping here.

Theory #5:
Book and Burnham will reconcile and get back together.

Book and Burnham are currently separated.

Although I may have been excessively critical of it at points in this week’s review, I maintain that the Book-versus-Burnham conflict isn’t one that the show needs. It’s built on very weak foundations, with both of them (and everyone else on the show) needing to be incredibly blinkered (or incredibly stupid) and not being able to recognise a very basic pathway to the “middle ground” that became the focus of Rubicon’s story.

We saw a big step toward reconciliation – at least on Book’s part – in Rubicon, when he agreed to stand down and give Burnham and Starfleet a week to attempt to make peaceful first contact and convince Unknown Species 10-C to deactivate the DMA. Book was willing to take a risk by trusting that Burnham would permit him and Tarka to go ahead with their plan at a later time… whether she would or not is unclear!

Book and Burnham in All In.

So that’s a positive step. With the detonation of Tarka’s weapon, the story could go in one of two ways from here: either Starfleet will let them off the hook, with the debate over the weapon rendered moot by the arrival of a second DMA, or Book and Tarka will have to go on the run to avoid the consequences of their actions.

I would suggest that Tarka is a valuable asset to Starfleet, and they may want to bring him back into the fold to help work on the DMA problem, the Galactic Barrier problem, and other things. Book is far less important in that regard, but as he’d indicated his willingness to stand down he may not be in as much trouble. There’s a pathway here to bring an end to this feud – and I hope Discovery takes it in the next week or two.

Theory #6:
Michael Burnham won’t remain captain of the USS Discovery.

Captain Burnham in Rubicon.

One potential way to pay off the Book-versus-Burnham storyline would be for it to lead to a significant change for Discovery’s captain. We saw in Rubicon that Burnham was unwilling to give the order that could have hurt or killed Book – even though she had been ordered to do so by Starfleet. This fundamental conflict between her romantic relationship and her duty is not new, and could potentially lead to Burnham stepping back from her role as captain of the ship.

Maybe she will have the strength to do what she believes is right during the DMA crisis, but will resign afterwards, unable to contemplate doing the same thing again and wanting to return to her simpler life with Book. This wouldn’t be a bolt from the blue, as we saw her wrangling with these feelings in Season 3.

In Season 3, Burnham had to consider whether remaining in Starfleet was right for her.

One of the unique aspects of Discovery within Star Trek’s broader canon is that the ship has been commanded by four very different individuals across its four seasons. Captain Burnham is different from Saru, Saru was different from Pike, and Pike, in turn, was different from Lorca. It has to be considered at least a possibility that the series will continue this trend.

I’m not really in favour of this, but it’s certainly interesting to consider. Now that we know that Season 5 is definitely happening, one possibility is that Captain Burnham will somehow leave the ship at or around the end of Season 4, making way for a brand-new commanding officer to take over. Because she’s been the show’s protagonist since Season 1, it seems unlikely, and the overall arc of Discovery between Season 1 and Season 3 can be read as Burnham’s redemption and ascent to the captaincy. But the show’s revolving door of captains may continue, and her conflict with Book and the difficult emotional situation it put her in could be the trigger to make this happen.

Theory #7:
Tarka will create his own DMA.

Tarka, Stamets, and Saru with the DMA model.

In The Examples, we saw Tarka – aided by Stamets – building a scale model of the DMA. Now that his plan to destroy it and seize its controller has failed, perhaps he’ll attempt to recreate the device using the knowledge he acquired. If so, he could inadvertently create a new DMA. Or, through time travel shenanigans, Tarka could turn out to be the creator of the original DMA!

Tarka’s story isn’t finished yet, and there’s still time for him to devise and enact a new plan over the course of the next few episodes. He had plans for using the DMA controller, so the next-best thing from his point of view might be to build his own version. He’s certainly clever enough – all he really needs is access to the resources to pull it off.

Theory #8:
Tarka’s friend built the DMA.

The second DMA in Rubicon.

As mentioned above, I think it’s a possibility that Tarka’s friend is directly involved with the DMA. It would explain how Tarka seems to know so much about it, even being able to recreate it on a smaller scale, as well as how he knows that it would be possible to use its power source to punch through to an alternate universe.

After all of the buildup, it’s possible that Unknown Species 10-C could turn out to be a single person: Tarka’s friend. It’s also possible that Tarka’s friend is working with Unknown Species 10-C, perhaps trying to find a way to reach Tarka across the divide between universes. There are a lot of different ways that this could pan out!

So those theories are new or saw movement this week.

Now, as I do every week, I’ll recap all of the other theories currently in play. I find it helps to keep everything in one place – it makes it easier to keep track of every theory so we can strike them off the list as we go!

Theory #9:
We haven’t seen the last of the Abronians.

I currently have four ideas for different ways that the Abronians – the non-humanoid race that Captain Burnham, Tilly, and the Qowat Milat helped save from cryo-sleep in the episode Choose To Live – could play a further role in Season 4.

Theory #9-A:
The Abronians’ homeworld was destroyed by the DMA.

Captain Burnham believes this image depicts a “supernova.”

After arriving at the Abronians’ cryo-ship, Captain Burnham found a stone carving that seemed to depict the destruction of the Abronians’ homeworld. This carving was only shown on screen briefly, but it seemed to show the planet being damaged or destroyed in a large explosion. Burnham credited the planet’s destruction to a “supernova,” and the story then raced ahead.

Considering that the main thrust of the season so far has been about the DMA, perhaps Burnham was incorrect: the Abronian homeworld was destroyed by the anomaly, not a supernova.

Theory #9-B:
The Abronians’ homeworld was on the other side of the DMA.

Abronian stasis pods.

Now that we know a little more about how the DMA works, this theory seems a little more plausible. Its powerful wormhole technology seems capable of transporting matter over many light-years, meaning it doesn’t seem to be a complete stretch to think that the Abronians may have originated in the vicinity of Unknown Species 10-C. They could even be Unknown Species 10-C!

One thing struck me as odd about the Abronians: the Federation was entirely unaware of them, despite the Abronian cryo-ship being relatively close to Federation space – such that Captain Burnham could reach it using Book’s ship in a short span of time. It’s possible that the Abronians had been asleep for millennia, unnoticed by the Federation and the wider galaxy for all that time. But it’s also at least possible that their cryo-ship is a newcomer to the area. If so, perhaps it arrived here via the DMA.

Theory #9-C:
The Abronians will return to help the Federation later in the season.

A deceased Abronian.

One of the themes of Discovery since Season 3 has been connection, including building connections between the Federation and other races and organisations. The Abronians were awoken from cryo-sleep thanks to the interventions of Captain Burnham and Tilly – at least in part – and they may seek to repay the Federation, or Captain Burnham personally, for that help.

We saw this play out last season with Ni’Var; in the season finale Ni’Var ships raced to the Federation’s aid as the Emerald Chain attacked. Perhaps the Abronians will likewise step up to help when the Federation needs allies.

Theory #9-D:
The Abronians’ moon-ship may be useful in a later story.

“That’s no moon…”

The Abronians’ cryo-ship is huge, and at least superficially seems to have the mass of a moon or small planetoid. If Captain Burnham and the crew needed a starship that large, such as to aid in the evacuation of a planet threatened by the DMA, for example, perhaps they’ll return to the Abronians and ask to borrow it.

As we saw in Choose To Live, the moon-ship was in full working order. All it needed was some extra dilithium to power up and it was perfectly capable of moving under its own power, and its computer systems were still functional. The only system that seemed to have failed was the wake-up timer! Discovery has precedent when it comes to telling seemingly one-off stories that have a pay-off later on, so watch this space. If Captain Burnham and the crew need a huge starship urgently, we may not have seen the last of the moon-ship!

Theory #10:
The Red Angel suits from Season 2 are connected to the DMA.

A Red Angel suit in Season 2.

Unknown Species 10-C seem to be responsible for building the DMA… whoever they ultimately turn out to be! But the DMA isn’t the first wormhole-creating technology that Discovery has introduced us to. The Red Angel suits in Season 2 were also capable of creating powerful wormholes… so could it be possible that Unknown Species 10-C built their device around or based on the same technology?

This revelation would greatly affect Captain Burnham, as she’d feel a degree of responsibility even though she wasn’t directly involved. It would also be the second disaster in a row (following the Burn) in which the Federation was implicated – albeit in an oblique way. I’m not convinced that Discovery will go down this route… but the similarities in the wormhole-creating technology gives me pause, at least.

Theory #11:
Saru will be given the captaincy of the USS Voyager-J.

Captain Saru in command… of a shuttle!

Saru’s future was briefly discussed before he offered to serve as Captain Burnham’s first officer in the episode Anomaly. 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?

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. This could also set the stage for his departure from the show, or possibly even for a new show following his adventures aboard his new ship.

Theory #12:
The ban on time travel will be explained in more detail.

HMS Bounty was able to travel back in time in Star Trek IV: The Voyage Home.

This one is as much a hope 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.

President Rillak may have tried to circumvent the ban if she felt doing so would be in the Federation’s interests.

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 there are other Federation leaders – such as President Rillak – who could be implicated.

I don’t think it’s possible any more that the DMA story will be connected to the time travel ban, as I had previously proposed. But that doesn’t mean that a closer look at the ban, and the potential for the Federation to have tried to work around it, isn’t going to happen.

Theory #14:
The crew will have to defend the Verubin Nebula.

The dilithium planet is vital to the Federation.

This one is definitely hanging by a thread right now. Season 4 continues to unfold in a very different direction, largely ignoring the main story beats from Season 3. But the dilithium shortage has been mentioned more than once, and as things stand right now, the Federation is in control of the galaxy’s only significant dilithium supply. The Verubin Nebula is almost certainly going to be a target – even if Unknown Species 10-C don’t care about it.

It begins to stretch credulity to think that all of the belligerent factions and races present in the galaxy would become aware of the Federation controlling this impossibly valuable resource and wouldn’t want to take it for themselves. And while it may not happen now until after the DMA storyline has run its course, I think sooner or later someone is going to want to steal the Verubin Nebula and its dilithium. Maybe it will be at the end of Season 4, maybe it will be in Season 5… who knows?

Theory #15:
A major character will be killed off.

A Starfleet coffin seen in Deep Space Nine.

Lieutenant Tilly’s departure in All Is Possible definitely shook up the cast. And Gray’s departure in But To Connect may do so as well. However, I stand by what I said before the season aired: killing off a character can be a great way to demonstrate the dangerous nature of the circumstances that the crew have found themselves in. So far, despite tangling with the DMA on several occasions, only a couple of redshirts have lost their lives.

In Stormy Weather, Dr Pollard raced through the corridors of the USS Discovery to reach a hull breach, but she survived while a nameless redshirt was blown out into space. And in Rubicon, the shuttle mission saw Saru, Dr Culber, Rhys, and Bryce all in serious danger, but they all made it home. Moments like these can make it feel that Discovery is shielding even its minor characters with some pretty heavy plot armour, but I still feel that there’s scope to see a major character death before the season ends.

Theory #16:
Season 4 will connect with the Short Treks episode Calypso.

Zora dancing with Craft in Calypso.

Zora’s status as a member of the crew was confirmed in But To Connect, and this followed her developing emotions and sentience earlier in the season. Zora is now much closer to her presentation in Calypso, potentially bringing the story of the Short Treks episode one step closer.

There are still significant hurdles to overcome if the story of Calypso is to be wrapped up in Season 4, though. Obviously we have the timeframe issue: will the USS Discovery be sent back in time, be abandoned, or is Calypso taking place centuries in the future? Then we have the USS Discovery itself – it’s been retrofitted since arriving in the 32nd Century, and now looks very different to how it did in Calypso. I’m not sure how Discovery will overcome these hurdles – but it’s possible. Zora hasn’t had a significant role to play in the last couple of episodes, but earlier in the season we definitely saw movement in this direction.

Theory #17:
There will be a character crossover from a past iteration of Star Trek.

Star Trek has had some wonderful crossovers in the past.

Tarka’s friend could, as mentioned, be someone we’ve already met. But there are other ways to bring back a character from a past iteration of the franchise – and there would be many potential benefits to doing so! I had initially proposed a version of this theory in the run-up to Season 3 that centred on the Doctor from Voyager – but with some creative technobabble, practically anyone could be included, despite the leap forward in time.

Choose To Live showed us the Abronians in cryo-sleep, and Stormy Weather saw the crew of Discovery use the transporter buffer to survive – just like Scotty had done in The Next Generation Season 6 episode Relics. Could these be hints at something to come?

It would also be possible for Captain Burnham to discover the logs or a holographic recording of a long-dead character – and while this would be less of a “crossover,” it could still be a ton of fun and great fan-service!

Theory #18:
Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.

Adira and Stamets with a map of the Milky Way galaxy.

In But To Connect, President Rillak told us that the diplomatic summit she convened would bring together races from “all four” quadrants. Assuming she was referring to the familiar Alpha, Beta, Gamma, and Delta Quadrants that make up the Milky Way galaxy, this would count as our first mention of the Delta Quadrant in the 32nd Century. I didn’t spot any familiar Delta Quadrant races (or their emblems) amongst the assembled delegates, however!

I had previously speculated that the Burn may not have affected the entire galaxy equally, and that regions farthest away from the Verubin Nebula may have survived without much damage. I still think that this is a possibility – though whether Discovery will revisit the Burn in any depth, or visit the Delta Quadrant at all, remains unclear.

To see a full write-up of this theory, click or tap here.

Theory #19:
Tarka aims to travel to the Kelvin universe.

The USS Kelvin.

There are many parallel universes, as Tarka reminded us in But To Connect. Though Star Trek has shown us a number of different parallel universes before, the biggest one that comes to mind (aside from the Mirror Universe) is the Kelvin timeline, in which the three reboot films were set.

Now that we know a fourth Kelvin film is happening, a major link-up between the two settings could definitely be on the cards. We don’t know how far the Kelvin timeline and the prime timeline will have diverged by the 32nd Century, and whether it operates like the Mirror Universe with every character getting their own alternate counterpart. If it does, perhaps Tarka met his own Kelvin timeline counterpart and that’s how he cooked up this scheme. If the Kelvin timeline diverged significantly from the prime timeline it stands to reason that the Burn never happened there. We also got an oblique Kelvin timeline reference in Season 3 – could that have been a hint?

Theory #20:
Book will find Kyheem and Leto on the other side of the DMA.

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 almost eighty years earlier. Now that we know a little more about how the DMA operates, it seems at least faintly possible that, just like Captain Kirk, the inhabitants of Kwejian may not be as dead as they first appear.

This theory is, I freely admit, a bit of a long-shot. But the wormhole technology that we know the DMA uses seems to be capable of sending some of what it harvests or mines back to Unknown Species 10-C’s base of operations. Maybe that means that some of the people from Kwejian were transported there instead of being killed.

Theory #21:
The Guardian of Forever will be back.

The Guardian of Forever as it appeared in The Animated Series.

I’m close to retiring this theory. In short, I had suggested that the reintroduction of the Guardian of Forever in Season 3 could mean that we’ll encounter the timeless entity again in Season 4. It would be nice to bring back Paul Guilfoyle, who played the Guardian’s humanoid avatar in the Season 3 two-parter Terra Firma.

However, it seems as though the DMA/Unknown Species 10-C story isn’t going in that direction. It would make sense, in a way, for Captain Burnham to seek out the Guardian to ask it about the DMA and Unknown Species 10-C – it may well know something about what’s going on that could be helpful. But the best time to have done that would have been earlier in the season. There are still ways in which the Guardian of Forever could be included, though – such as Tarka attempting to use it to reach his friend – so although I’m close, I’m not dropping it just yet.

Theory #22:
President Rillak knows what the DMA is and may be implicated in its creation.

President Rillak, leader of the United Federation of Planets.

I will admit that, as things stand, President Rillak is looking less and less likely to be involved directly with Unknown Species 10-C and the DMA. But there’s still time for a connection to be revealed!

In short, President Rillak’s single-minded goal of reuniting the Federation may be well-served by providing the disparate ex-members with an enemy or a problem to stand against. The DMA has already accelerated Ni’Var’s membership, and President Rillak even got to speak with a representative from Earth in But To Connect – so if she is involved somehow, her scheme is already paying dividends. At the very least, I think it’s fair to say that this complex, somewhat Machiavellian character is not letting the crisis go to waste, and is politicking off the DMA’s trail of destruction.

President Rillak with Captain Burnham on Ni’Var.

In her dealings with Captain Burnham, I’d argue we’ve seen this Machiavellian edge to President Rillak. In the Ni’Var negotiations depicted in All Is Possible, and again for a second time in But To Connect, President Rillak used Captain Burnham to advocate positions that would’ve been politically or diplomatically difficult for her to do openly – effectively manipulating those events from behind the scenes.

In light of all of this, I would hope that Captain Burnham will tread carefully with President Rillak. She seems the type who would happily throw Burnham and the USS Discovery under the bus if it suited her political and/or diplomatic ends. If someone like that felt that unleashing the DMA, or failing to warn everyone that it was coming, would be to her advantage, I can absolutely see her seizing on that opportunity, too. There are myriad ways in which we could connect her to the DMA, even if she didn’t order its creation. She could be in cahoots with Unknown Species 10-C, she could have learned about the DMA and chosen to cover it up, or something else that she believed was in the Federation’s long-term interests.

Theory #23:
Unknown Species 10-C is extinct.

R.I.P.

Although the arrival of a second DMA may count against this theory, it’s possible that it’s some kind of automated system. With Unknown Species 10-C still being hidden and mysterious, it seems at least possible that Captain Burnham and the crew will arrive at their base to find it empty; Unknown Species 10-C may have already gone extinct.

Perhaps they went extinct recently, or perhaps it was millennia ago. The DMA might be Discovery’s equivalent of the Planet Killer from The Doomsday Machine; an automated device left behind, a warning to the real world about the dangers of some of our long-lasting environmental and technological impacts.

Is the DMA going to turn out to be similar to the Planet Killer?

The DMA could even be Unknown Species 10-C’s last-ditch effort to prevent their own extinction. Having used up their entire power supply, they had to build such an imprecise, devastating machine to harvest all of the boronite they could possibly find just to keep the lights on and their machines powered. There could be an interesting analogy there, too.

Because Unknown Species 10-C remains hidden from us going into the next episode, all sorts of possibilities remain on the table. This could certainly be a different and unexpected way to take the story, and perhaps the culmination of the plot would be more of a technological puzzle than a conflict against an adversary, with Captain Burnham leading Starfleet’s efforts to figure out Unknown Species 10-C’s technology in order to deactivate the DMA.

So that’s the main theory list!

We also have two production-side theories in play, so we’ll look at those too before we wrap things up.

Production-side theory #1:
Tilly’s departure will be permanent.

Tilly’s departure feels permanent.

Mary Wiseman confirmed in an interview with Wil Wheaton on The Ready Room (Discovery’s social media aftershow) that Tilly will be seen again before the end of Season 4, and we glimpsed her in the trailer for the second half of the season as well. But that doesn’t mean she will return as a main character on the show going forward, and her departure in All Is Possible felt permanent. Despite that, I’ve seen quite a lot of folks online who don’t believe that Tilly is actually leaving the series – so I wanted to put it out there officially and say that, in my opinion anyway, she is.

Maybe those people know something that I don’t! As I always say, I don’t have any “insider information;” all of this is just speculation on my part. However, I feel that the manner of Tilly’s departure, the fact that she got that emotional sequence with Captain Burnham, a montage showing her leaving the ship, Adira seeming to take over several of her roles, and her departure feeling like the culmination of her arc going back to the latter part of Season 3 all come together to strongly indicate that she won’t be back as a major character. She may yet have a significant role to play in a future Season 4 episode, as has been suggested, but unless Discovery’s writers are really playing with our emotions I believe we’ve seen Tilly’s end as a main character on the show. She may come back in a future Starfleet Academy series, though… so watch this space!

Production-side theory #2:
Season 4 will end on a cliffhanger!

Star Trek has a long, well-established tradition of season-ending cliffhangers! There have been some truly shocking ones in the past, including The Best of Both Worlds in The Next Generation, Deep Space Nine’s Call To Arms, Equinox in Voyager… and many more! With the story of Unknown Species 10-C and the DMA slowly being unpicked, it could be the case that we’ll get a clean resolution – like we did at the end of Season 3. But it’s also possible, in my opinion, that Season 4 will end in similar fashion to Season 2 – on a major cliffhanger!

That could be because the Unknown Species 10-C story didn’t conclude, or a war with the mysterious faction is about to break out. But the Season 4 finale could also set up the beginnings of Season 5’s story, just like how the final moments of Season 1 saw Captain Pike’s Enterprise link up with the USS Discovery.

So that’s it!

The USS Discovery inside the DMA in Rubicon.

There are still some huge questions facing Discovery as we move into the final four episodes of the season. The DMA and Unknown Species 10-C storylines have to be exposed – somehow – and there’s also the question of Tarka. Will he make it across the divide to the universe he’s trying to reach? And what of Book and Burnham – will they be able to put the arguments over the DMA behind them and reconcile? The next episode will take us to The Galactic Barrier – so maybe we’ll finally get to lay eyes on Unknown Species 10-C!

Before we go, one final point. I write up these theories because I like Star Trek and I like writing. But for some folks, fan theories can hamper their enjoyment of a film or television show. It’s worth keeping in mind that most of these theories probably won’t pan out, and we have to be prepared for the fact that even the most well-constructed fan theory, no matter how fun and plausible it seems, simply won’t turn out to be true. If you find that speculating and reading theories is beginning to detract from your enjoyment of Star Trek: Discovery – or any other television show or film – it might be a good idea to take a break for a while.

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, Google Play, 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 Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Twelve Star Trek episodes to watch before Picard Season 2 arrives!

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1 and the trailers and teasers for Season 2. Spoilers are also present for the following Star Trek productions: The Original Series Season 1, The Next Generation, Deep Space Nine Season 3, Voyager Seasons 2, 3, and 7, and First Contact.

It seems an age ago that we were eagerly anticipating Season 1 of Star Trek: Picard. In those sunlit, rosy days before the pandemic hit, this website was brand-new, and I spent a lot of time in December 2019 and January 2020 looking ahead and wondering what we’d see when the Star Trek franchise finally returned to the 24th Century – after an eighteen-year wait!

With Season 2 of Picard now only days away, I thought it could be fun to revisit a concept from the early days of the website: a list of episodes that I think could make for interesting background viewing, potentially informing story points and characterisations in the new season of Picard. In the run-up to Season 1 I focused on episodes of The Next Generation that strongly featured Captain Picard himself, as well as a few stories about the Romulans, and a few more stories which could’ve potentially led to big changes in the two decades following the events of Endgame and Nemesis.

We’ll soon be on another adventure with Jean-Luc Picard!

This time, we have a little bit more information to go on! Season 2 will tell a story that involves (to a greater or lesser degree) the following elements: the Borg Queen, Guinan, Q, time travel, and, of course, Admiral Picard himself. On this occasion, then, I thought it could be fun to pull out twelve stories from Star Trek’s past that might just be useful background viewing for Season 2 of Picard. It goes without saying that Season 1 is mandatory viewing, so I’m not putting any of those episodes on this list! You should really watch, or re-watch, all ten before the season kicks off!

My usual caveats apply, as they always do! Firstly, everything listed below is entirely subjective. If I miss out an episode that you think is incredibly important, or you hate all of my picks, that’s okay! We all have different opinions about Star Trek, and there’s no need to fight about it. Secondly, I don’t claim to have any “insider information.” I’m basing my theories and guesses about Season 2 on publicly released material, such as trailers and interviews. And finally, the episodes are not ranked; they’re merely listed below in the order in which they were originally broadcast.

With all of that out of the way, let’s jump into the list!

Number 1:
Tomorrow is Yesterday
The Original Series Season 1 (1967)

I’m pretty sure this violates the Temporal Prime Directive…

Though The City on the Edge of Forever is perhaps the best-known of The Original Series’ time travel stories, Tomorrow is Yesterday preceded it by several months. It was the first episode of the Star Trek franchise where time travel played a major role in the story, and it was also the first in which the crew paid a visit to the modern day. Tomorrow is Yesterday established what went on to become a mainstay in terms of the franchise’s time travel story tropes: being sent back in time by accident!

Aside from being a fun episode in its own right and well worth a watch, Tomorrow is Yesterday is also the episode which introduced the Star Trek franchise to something that appears to be making a return in Picard Season 2: the slingshot method of travelling through time, referred to in this episode as the “light-speed breakaway factor.”

The USS Enterprise using the “light-speed breakaway factor” to travel through time.

Almost every Star Trek series has included the occasional time travel story, and we can look to episodes like Tomorrow is Yesterday for creating that premise. Visiting the modern world would go on to be significant later in The Original Series, in Star Trek IV, and on several other significant occasions in the franchise. For me, some of these stories can feel rather dated, but I think Tomorrow is Yesterday largely avoids that trap!

As we get ready for Picard Season 2 and the franchise’s latest foray into time travel, stepping back to see where it all began during the first season of The Original Series is no bad thing. Tomorrow is Yesterday has a fairly straightforward premise that should be easy enough to follow even for fans who aren’t as familiar with The Original Series, and is well worth a watch on its own merits.

Number 2:
Encounter at Farpoint
The Next Generation Season 1 (1987)

Judge Q.

In the first teaser trailer for Picard Season 2, we heard Q’s voice proclaiming that “the trial never ends.” Encounter at Farpoint is the episode in which Captain Picard first encountered Q, and the episode in which the referenced “trial” began. Q accused humanity (and by extension, the Federation) of being a “dangerous, savage, child-race” who are unfit to travel the stars. Picard and his crew defended themselves against the accusation.

The task Q set for Picard was to unravel the mystery of Farpoint Station, which he and the crew of the Enterprise-D were en route to. However, figuring out the puzzle wasn’t the end of the trial, and even after bringing the Farpoint saga to a successful conclusion, Q departed in ambiguous fashion, hinting that he would return. He did, of course, on a number of occasions!

Worf, Picard, and La Forge on the bridge of the Enterprise-D.

Encounter at Farpoint was the premiere of The Next Generation and established the characters of Picard and Q (as well as many other familiar faces). As we approach Picard Season 2, it’s worth going back to see where it all began. This was the first big puzzle that Q tasked Picard with solving, and seeing how Q operates and what the point of it all is, from his perspective, is well worth taking into consideration.

This is also the beginning of “the trial.” We don’t know to what extent the idea of Picard – and humanity – being on trial will feature in Picard Season 2, but if Q has returned to set up a new mystery there could be a connection – and there could be consequences if Picard and the crew of La Sirena can’t figure it out. Q has toyed with Picard on a number of occasions; Encounter at Farpoint was the first.

Number 3:
Q Who
The Next Generation Season 2 (1989)

Q threw Picard and the Enterprise-D into danger.

Q Who is the episode that introduced us to the Borg – and it’s a pretty scary one by Star Trek’s standards! Captain Picard and the crew of the Enterprise-D have never faced a villain like this, and the Borg represent an existential threat. Q made good on his promise to show Picard that there are dangers in the galaxy that he couldn’t even imagine… and eighteen members of the Enterprise-D’s crew paid the ultimate price.

In a way, Q Who shows Q at his most aggressive, devious, and villainous. By throwing the Enterprise-D into the path of the Borg, he proved his point to Picard about the Federation’s unpreparedness in the most painful way possible. But I don’t believe that’s all there is to the story.

The first Borg seen in Star Trek.

I have a theory about Q Who that you can find by clicking or tapping here. To briefly summarise: Star Trek has made a mess of the history of Borg-Federation contact, and it seems likely that the Borg were already aware of humanity and Earth long before the events of this episode. They may have already been preparing for an attack or assimilation attempt, and Q hoped to prevent that by giving the Federation advance warning.

My theory goes into much more detail! But suffice to say the complicated history of contact between humanity and the Borg makes it seem plausible, at least to me, and shows off an aspect to Q’s character that I think could come into play in Picard Season 2. Q Who also establishes the existence of history between Q and Guinan – something that may come up in Picard Season 2 given that both characters are returning.

Number 4:
Yesterday’s Enterprise
The Next Generation Season 3 (1990)

The Enterprise-C.

Though it’s a fantastic episode in its own right, Yesterday’s Enterprise is on this list for one reason: Guinan. When a rift in the space-time continuum sends the Enterprise-C forward through time, decades’ worth of history are changed, leaving the Federation in a very bleak timeline in which it’s fighting a losing war against the Klingons.

Aboard the warship Enterprise-D, Captain Picard and the rest of the crew are completely oblivious to the change; this version of the characters have only ever known the war timeline. But Guinan alone realises that something has gone wrong, and argues with Captain Picard about how to set things right.

Guinan presents her case to Captain Picard.

Despite a recent controversy, Whoopi Goldberg will be reprising the role of Guinan in Picard Season 2, bringing the character back for the first time since Generations in 1994. Given that we know Season 2 also features a radically changed timeline, not dissimilar to the one seen in Yesterday’s Enterprise, perhaps Guinan will be aware of the change.

Guinan could be the one to talk to Picard about the possible point of divergence, as we know she’d visited Earth in the 19th Century. She may also be one of the only people other than the crew of La Sirena to be aware that something has changed. Guinan also has a history with Q, as we saw in the episode Q Who – so that could also come into play!

Number 5:
Time’s Arrow Parts I-II
The Next Generation Seasons 5-6 (1992)

R.I.P. Data…

Guinan also plays a key role in the two-part episode Time’s Arrow. Thanks to time travel, this is the episode where she and Captain Picard actually have their first meeting, and although the nature of their relationship is still shrouded in mystery, we get a little bit more information about how they came to meet in the first place.

Guinan’s fascination with Earth appears to date back to at least the 19th Century, as she visited undercover during that time period. We know from the most recent Picard Season 2 trailer that Guinan appears to be running a bar on Earth at the dawn of the 25th Century, giving her an association with Earth and humanity that stretches back over five hundred years.

Guinan and Picard in the 19th Century.

Time’s Arrow is an interesting story that mostly focuses on Data, who was of course a huge part of the story of Picard Season 1. It seems as though Brent Spiner will be playing a new role in Season 2 – perhaps another ancestor of the Soong family – so getting a bit of extra data on Data could be worthwhile, too!

One thing I’m personally curious about in Picard Season 2 is if we’ll get any further backstory on the Picard-Guinan relationship. Although Time’s Arrow depicts their first meeting from Guinan’s perspective, we’ve still never learned how they came to meet in the 24th Century from Picard’s point of view. All we know is that it likely happened prior to his assuming command of the Enterprise-D. I don’t know if Picard Season 2 will expand on that in any way… but it would be interesting!

Number 6:
Tapestry
The Next Generation Season 6 (1993)

Q and Picard.

Tapestry is a really interesting episode that deals with the dynamic between Q and Picard, and specifically looks at the nuances present in their relationship. Picard has always viewed Q as an adversary, but I’ve argued in the past that Q doesn’t see himself that way. He views Picard as a friend, and himself as a guide or even an ally – and the way Tapestry unfolds kind of shows why that is.

When Picard is injured on an away mission, he finds himself close to death. At that moment, he encounters Q – who claims he’s already dead. Q gives Picard a chance to avert his death by changing a key event in his past – getting stabbed shortly after graduating from Starfleet Academy – but doing so sets Picard’s life and career on a completely different path.

Lieutenant Picard in an alternate 24th Century.

The important thing here is how Q views the whole affair. We can entertain debates on whether or not Q actually sent Picard back in time or whether it was all an elaborate illusion, but that’s entirely beside the point. Q genuinely believed that he was helping – that by showing Picard an alternate life, he gave him an appreciation for the life he had actually led, even if that meant it was about to end.

I firmly believe that there’s more going on with Q in Season 2 than meets the eye. It’s possible that he didn’t change the timeline at all, and is merely responsible for shielding Picard and the crew of La Sirena from it. It’s also possible that he did change it as part of an elaborate puzzle, one which he hopes and expects that Picard will be able to solve. Speaking of which…

Number 7:
All Good Things…
The Next Generation Season 7 (1994)

Q and Picard in the distant past.

All Good Things is the best example of this aspect of the dynamic between Picard and Q, and could – in theory – be a template for the events of Picard Season 2. In All Good Things, the Q Continuum sets a puzzle for Picard – an eruption of “anti-time.” Thanks to the time-travelling interventions of Q, Picard is able to hop between three different periods of his own past to solve the mystery.

The solution to the anti-time eruption required Picard to challenge his own way of thinking, specifically his linear perception of cause-and-effect. Being able to recognise that events in the future had a causal link to events in the past greatly impressed Q, who seemed to suggest that it was the first step on a path that could one day see humanity evolve into beings comparable to the Q themselves.

Q in his judge’s robes.

All Good Things was also Picard’s last dalliance with Q prior to the events of Picard Season 2. As far as we know at this stage, Q hasn’t been to see Picard in the approximately twenty-five years since the events of All Good Things – but that could change as we get into the new season. It’s possible, at least in my opinion, that Q might’ve been interested to see Picard at his lowest ebb, possibly showing up to see if he could provoke him into action. But we’ll save a detailed explanation of that for my next theory post!

It’s possible that the trailers and teasers for Season 2 have already revealed the nature of Q’s involvement in the story: that he is directly responsible for changing the timeline, he did so on purpose, and he will be the main villain of the season. But I would argue that the “villain” monicker does not fit with Q’s past characterisation, and thus I suspect that there’s much more going on than meets the eye. All Good Things is both a piece of evidence in favour of that argument, as well as a potential blueprint for how a time travel puzzle set by Q could unfold.

Number 8:
Past Tense, Parts I-II
Deep Space Nine Season 3 (1995)

Dr Bashir and Commander Sisko.

We know, thanks to a voiceover in the most recent trailer, that at least some of the events of Picard Season 2 take place in the year 2024. But Picard Season 2 isn’t the first Star Trek production to visit that specific year! In Deep Space Nine’s third season, Commander Sisko and the crew of the USS Defiant found themselves accidentally sent back in time to the exact same year.

Past Tense is an interesting story, as it will mark the first time that any episode of Star Trek set in “the future” at the time it was broadcast will be reached, and I’m sure I won’t be alone in doing a full write-up of its story when we hit the end of August 2024! We could talk for hours about how its depressing presentation of the 2020s seemed a long way from reality once upon a time, but with the growth of homelessness and other economic issues, today’s society feels far too close for comfort to the world of the Bell Riots.

The USS Defiant in orbit over Earth.

I’m not sure how much of Deep Space Nine’s presentation of a fictionalised 2024 will make it into Picard Season 2. It’s possible that the new series will entirely ignore this two-part episode… but I think we should keep an eye open for references or callbacks to some of the characters, events, or even things like brands and products.

Regardless, this will be the first time that two very different Star Trek productions have travelled back in time to the same year, and it might be interesting and informative to take a look at Past Tense to see how Deep Space Nine told us that the year would unfold. It seems as though Picard Season 2 will be set, in part, in California – which is also where Past Tense was set, so that’s another point of connection. I’m not expecting a huge crossover with this one single Deep Space Nine story, but there could easily be references made to it.

Number 9:
Death Wish
Voyager Season 2 (1996)

Two Qs?!

Captain Picard wasn’t the only Starfleet officer to tangle with Q. After making a sole appearance in Deep Space Nine, Q hopped over to the Delta Quadrant, where he had several run-ins with Captain Janeway during Voyager’s journey home. Q presented a bit of a puzzle for Voyager; his abilities mean that he could have sent the ship and crew back to Earth with a snap of his fingers. But if we can look beyond that narrative hurdle, Q’s appearances in Voyager added a lot to his characterisation.

In Death Wish, we got our best look to date at the Q Continuum itself. Depicted in a manner that humans could comprehend, the Continuum resembled a rather dilapidated roadside house in the middle of the desert. For the first time, we got to see more members of the Q Continuum as well, and got a glimpse of how Q himself is a bit of a radical by the standards of his people.

Captain Janeway and Tuvok visit the Q Continuum.

The idea that the Q Continuum is not an entirely stable, homogeneous place is an interesting one, and was explored in more detail in the episode The Q and the Grey. But Death Wish also presented a very complex moral question – in the longstanding tradition of Star Trek! This episode can be a difficult watch for some folks because of its discussion of suicide, and it’s absolutely fine to skip it if that subject hits too close to home. If the debate around suicide and end-of-life care is something you’re interested in, though, this is a uniquely “Star Trek” attempt to tackle it.

Q emerges from this story as a reformer – or even a radical – by the standards of his people. We also know, thanks to a line in All Good Things, that he was responsible for assisting Picard when the Continuum set the anti-time puzzle. It’s stories like this that make me think that there’s a goodness in Q; that he isn’t just a trickster or a pure villain.

Number 10:
Future’s End, Parts I-II
Voyager Season 3 (1996)

Chakotay, Janeway, Tuvok, and Paris on Earth.

The two-part time travel story Future’s End sees Captain Janeway and the crew of the USS Voyager sent back in time to Earth, circa 1996. It’s another story set in the California area, and I think it’s an interesting episode – albeit one that I feel has become very dated by Star Trek standards!

If Picard Season 2 sticks with things like the Borg and the slingshot method, it seems that the kind of time travel depicted in Future’s End won’t be a factor. But there are still interesting points to consider, such as the Temporal Prime Directive and how Starfleet in the future would come to police the timeline, watching out for changes.

It’s Los Angeles – where Picard and the crew of La Sirena appear to be headed!

There aren’t a great many Star Trek episodes that visit the modern day, and as I’ve already explained I feel that a modern setting can make such stories feel very out-of-date very quickly. Future’s End definitely falls into this trap; its depiction of Southern California has a very ’90s flavour. But it’s a bit of fun, and dare I say almost a guilty pleasure!

I’m including Future’s End here for its modern day time travel story and its focus on California, both of which are elements that we know will be part of Picard Season 2. As with Past Tense, I don’t expect to see a huge tie-in between the new season and the events of this episode, but there may be smaller callbacks and references to some of the characters and events it depicted.

Number 11:
Star Trek: First Contact
Film (1996)

The Borg Queen.

First Contact introduced us to the Borg Queen for the first time, and went into a lot more detail about Picard’s assimilation experience. The Borg Queen was presented as the embodiment of the Borg rather than their leader, and she became a fearsome adversary for Picard and Data over the course of the story.

Season 1 of Picard saw the retired Admiral face his lingering Borg assimilation trauma when he beamed aboard the Artifact in the episode The Impossible Box, but Season 2 will see him come face to face with a Borg Queen for the first time in twenty-five years. For someone who’s clearly suffering from some form of post-traumatic stress, we don’t know what effect that could have.

Data and Picard lead the battle against the Borg.

Picard was violently anti-Borg in First Contact, and we saw hints of that in Picard Season 1 as well. His conversation with Dr Jurati and Elnor in The Impossible Box, as well as the way he responded to some of the xB’s in later episodes, was in line with his attitude to the Borg in First Contact – and I wonder how encountering a Borg Queen will make him feel!

Many Trekkies hold up First Contact as one of the absolute best Star Trek films, and it’s hard to disagree. As an action-packed work of sci-fi with some truly scary elements thanks to the way the Borg are depicted, it’s an exciting ride from start to finish. It also goes into a little more detail about World War III – an event in the history of the Star Trek timeline that could play a role in Picard Season 2. Check out my full World War III theory by clicking or tapping here!

Number 12:
Endgame
Voyager Season 7 (2001)

Some of Voyager’s crew in an alternate 25th Century future.

Almost five years after First Contact depicted the Borg’s biggest attack on Earth to date, Endgame brought back the Borg Queen in a significant way. The interventions of a time-travelling Admiral Janeway from the future saw the USS Voyager make it home to Earth, and in the process dealt a significant blow to the Borg Collective.

Even though it’s been more than twenty years since Endgame, we don’t actually know what became of the Borg in the aftermath of Admiral Janeway’s attack. I’ve always assumed that the Borg Collective was large enough, clever enough, and adaptable enough to survive the neurolytic pathogen that she introduced into the Borg Queen… but because the Star Trek franchise has yet to return to the Borg post-Endgame, we can’t be certain of that.

Admiral Janeway and the Borg Queen.

Even Season 1 of Picard, which depicted the disabled Borg Cube known as the Artifact, didn’t settle the issue. So it’s an open question at this juncture whether the Collective survived, whether it was significantly damaged by Admiral Janeway’s pathogen, or whether it was able to easily shake off the attack. It seems as though no major Borg activity occurred in Federation space in the twenty-plus years after Endgame, though.

Endgame makes this list because of the Borg Queen’s role in Picard Season 2, and I think it could be very useful background viewing, possibly even setting up a story about the Queen herself or the state of the Borg Collective at the dawn of the 25th Century. On a vaguely related note, I took a deeper look at Admiral Janway’s actions in Endgame, and you can find that article by clicking or tapping here.

So that’s it!

Admiral Picard is coming back in just a few days’ time!

Those are twelve episodes (alright, eleven episodes and a film) that I think might make for useful or interesting viewing prior to Picard Season 2! I think we’ve hit most of the key subjects – at least, those that we’re aware of at this early stage – and got a good mix of stories focusing on Captain Picard, Q, Guinan, time travel, and the Borg Queen.

At the end of the day, though, Star Trek’s past didn’t prove all that important to unravelling the events of Picard Season 1 – nor to recent storylines in Discovery, either. So it’s quite likely, in my view, that Picard Season 2 will bring plenty of brand-new characters and story elements into play. That doesn’t mean it isn’t worth going back to these stories and others, but my suspicion at this stage is that the new story won’t rely excessively on what came before.

When Picard Season 2 arrives at the end of next week, I hope you’ll stay tuned for individual episode reviews, theories, and more. Despite the somewhat underwhelming end to Season 1, Picard Season 2 has been one of my most-anticipated shows for almost two years, and I can’t wait to jump in and have another adventure with Jean-Luc Picard and the crew of La Sirena.

Star Trek: Picard Season 2 will premiere on Paramount+ in the United States on the 3rd of March 2022, and on Amazon Prime Video in the United Kingdom and elsewhere 24 hours later. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery review – Season 4, Episode 9: Rubicon

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4.

Last week, All In took Discovery on a bit of a detour to a Star Wars-inspired gamblers’ den. With the season now building to what appears to be the climax of its story, Rubicon returned to the DMA in a big way, moving the story along in leaps and bounds while spending a little too much time on the dreaded Burnham Relationship Drama™.

I’m in two minds about Rubicon, really. On the one hand, the episode was by far the cinematographic highlight of the season so far, with some outstanding visual effects, beautifully-composed camera shots, and a sense of scale that would’ve made Rubicon feel right at home on the big screen. On the other, there were a couple of moments where I literally couldn’t stop my eyes from rolling at overplayed clichés that I’d hoped Discovery could’ve outgrown by now. What resulted, all things considered, was a mixed bag of an episode; there were some excellent moments and some very sub-par ones.

Captain Burnham on the bridge in Rubicon.

Stepping back from Rubicon for a moment, I want to consider the overall story of the DMA and Unknown Species 10-C in Season 4. As the season has rolled on, I’ve been feeling a growing sense of déjà vu. The DMA storyline is unfolding in a remarkably similar fashion to the Burn in Season 3, with the big, mysterious, galaxy-threatening event being slowly uncovered by Burnham and the crew of the USS Discovery.

When the first Season 4 teaser initially revealed another “big bad,” I wrote the following: “there are possible downsides to another ‘huge galactic disaster’ storyline so soon after resolving the Burn, in that it risks feeling tacked-on, derivative, or even anticlimactic…” Right now, with the very similar way that the two storylines are unfolding – with little tidbits of information about the DMA or Unknown Species 10-C having been tacked on to episodes throughout the season – I’m definitely feeling that Discovery is straying increasingly close to repetitive territory. There’s still time for the emergence of the second DMA or the reveal of Unknown Species 10-C to take things in a very different direction, but this feeling is something that had been building up for several episodes now, and it kind of came to a head in Rubicon.

The DMA as it appeared in Rubicon.

I don’t usually like to talk about too much production-side stuff, but while we’re taking more of a birds-eye view of Season 4, I thought it was worth noting that showrunner Michelle Paradise recently discussed Unknown Species 10-C during a social media event. Her comments seemed to imply that Unknown Species 10-C will be someone that we’ve never met before; someone brand-new to Star Trek. And while it’s possible these comments have been misinterpreted – Paradise could have been talking about an extensive redesign of an existing faction, perhaps – I wanted to briefly consider what that could mean for the show.

In Season 3, one of the reasons why the Burn storyline fell flat at what should’ve been its climax is that basically none of the hints that Burnham and the crew had picked up over the course of the season ultimately mattered – the ending was such a bolt from the blue that it was unpredictable, making for an unsatisfying end to a season-long mystery. Because Season 4 has followed such a similar mystery box-type setup, the DMA and Unknown Species 10-C have seen crumbs of information thrown our way over the course of the season thus far. And with myriad smaller references to past iterations of Star Trek, fans have been encouraged to speculate about possible connections and explanations. For the ending to be another “surprise!” might work… but it might not. And I can’t shake the feeling right now that the explanations for the two big mysterious elements of Season 4’s story are ultimately going to be disappointing for a lot of fans.

Okay, that’s enough of that! The speculation about who Unknown Species 10-C may or may not be will have to wait, and we may not know the answer for a while!

Unknown Species 10-C sent a second DMA.

One of the central conceits of Rubicon was this idea of searching for a middle ground in between Book and Burnham’s positions. Communication and compromise have been themes that Discovery has tackled on multiple occasions over the past couple of seasons, but here I’m just not sure it’s been handled very well. I said in my review of But To Connect that there has always been a middle ground in this standoff, and it’s such a basic one that it beggars belief that no one so much as mentioned it until now.

The dividing line was whether to attempt to make peaceful first contact, as Burnham wanted, or to deploy a weapon against the DMA, as Book wanted. But the answer has been right in front of everybody the entire time: do both. In the time it would take to build the weapon and plan for its deployment, the Federation could make its attempt at first contact. It didn’t need to turn into the big fight that it did, and the idea that none of the dozens of diplomats, the Federation President, Starfleet Admirals, and the entire crew of Discovery didn’t even consider it might be a clumsy metaphor for our current divided political climate, but it doesn’t really work as a story beat. And that means that when Burnham finally proposed the compromise to Book, instead of cheering it on and thinking what a wonderful idea it was, all I could think was “that took you long enough!”

Captain Burnham eventually came to discover a rather obvious compromise position.

If the story underlying this division was stronger, perhaps I would forgive the silliness of failing to propose a compromise sooner. But because this particular story focuses almost exclusively on Burnham Relationship Drama™, something that I would argue Discovery simply does not need at this point in its run, it feels even more disappointing, somehow.

Despite a weak start in the Season 1 premiere, I have genuinely come to like Captain Burnham. Her ascent to the captaincy, particularly across the back half of Season 3, felt great – and along with Captain Sisko from Deep Space Nine, we can absolutely say that she’s one of the few Star Trek characters who genuinely earned her promotion. We saw a lot of the process that took her from a subordinate to a commanding officer, and while she has her flaws, which Star Trek captain doesn’t?

Captain Burnham’s rise to the captain’s chair has been a great story to watch.

But after a lot of messing around with Ash Tyler in Season 2 in particular, the whole Burnham Relationship Drama™ angle is completely overdone. Giving her a new start with Book worked so well in Season 3, and to upend that over such a stupid disagreement that should have been solvable is disappointing. Female characters don’t need the support of male characters to be successful, so I’m not saying that Captain Burnham somehow needs Book in her life – but having given her that relationship, to strip it away from her so soon just for the sake of injecting additional drama into a series that’s already full to the brim with it just seems gratuitous and unnecessary.

It would still have been possible to have a conflict over the DMA, with Tarka taking off on a mission to detonate his weapon. All In and Rubicon could’ve played out almost word-for-word without the Burnham Relationship Drama™ detracting from other aspects of the storylines. Another character could’ve been teamed up with Tarka, if the writers felt it necessary, and he could have even swayed a member of Discovery’s crew. In Rubicon, we saw glimpses of the way this could’ve gone with Rhys being generally supportive of Tarka, and any of the secondary characters could’ve played the Book role on this side of the story. Tarka is the driving force here, Book is really just a pilot. And while Book’s story of grief leading him to dark places sounds interesting in theory, Discovery hasn’t really done anything significant with that angle for several episodes. Book got to his dark place earlier in the season, and has been fairly static since.

A hologram of Book in Rubicon.

In short, if I was going to make one change to Season 4 as it’s unfolded so far, it would be to keep Book and Burnham together. There was scope to see Book in therapy with Dr Culber, talking out his feelings with Saru or even Zora, and being comforted all the while by Burnham. Instead, the story almost suggests that Burnham is out of her depth with Book, unable to know what to do or say.

The only way I can see the Burnham Relationship Drama™ making sense in Season 4 is if it leads to some bigger destination that isn’t apparent right now. Rubicon saw Burnham hesitate, unwilling to give the order to stop Book because of her love for him essentially overriding her duty as a Starfleet officer – comparable, in some respects, to the choice Worf made in the Deep Space Nine episode Change of Heart. If she feels that she can’t ever make that kind of choice again, or that Starfleet is getting in the way of her relationship, maybe she’ll end up resigning her commission in order to stay with him. If there’s some kind of larger arc at work, perhaps we’ll look back on the way it unfolded and reflect, wondering if the ends justified the means. But right now, assuming that isn’t going to be the case, this aspect of the Season 4 storyline remains disappointing verging on irritating.

Captain Burnham.

None of that is to detract from two wonderful performances. Sonequa Martin-Green continues to be impressive as Captain Burnham, and in an episode that revolved around her character’s internal conflict between love and duty, Martin-Green put in an outstanding and beautifully complex performance that was, at times, riveting. David Ajala made a wonderful addition to the cast in Season 3, and his arc in Season 4 has seen him put in some harrowingly beautiful performances that truly succeed at communicating Book’s grief. This latest turn for his character and his disagreement with Burnham wouldn’t have been my choice, but there’s no denying that Ajala brought it to screen and did his utmost to sell it.

It was also great to welcome back Rachael Ancheril in Rubicon, with her character of Nhan making a return for the first time since Season 3’s Die Trying. I felt it was a shame to see Nhan shuffled off the ship so quickly after arriving in the 32nd Century, and although it seems like her role this time was a one-off and not the start of a full-blown homecoming, it was still nice to catch up with her and learn that her mission aboard the USS Tikhov came to a successful conclusion.

Nhan made a welcome return to Discovery this week.

Unfortunately, though, one of Nhan’s lines was so poor that I felt myself involuntarily rolling my eyes. At a crucial moment in the mission, Nhan revealed to Burnham that, rather than just following her orders, she had another motivation: she’d been on another mission somewhere else and had lost “half her team” because she waited too long to make a decision. This terribly clichéd moment added nothing to Rubicon, nothing to Nhan’s character, and nothing to the overall story. It was undeveloped beyond a single line and was nothing but unnecessary fluff thrown in seemingly haphazardly to try to further ramp up the drama.

Discovery has a tendency to do this: taking a secondary character and giving them one or two lines about something in their past that we never saw and that is never referenced again to try to inject additional tension and drama into a story beat. It occasionally works, but more often than not it just falls flat on its face because it’s so painfully obvious that these lines are purely there for dramatic effect. Nhan’s is a case in point: it didn’t flow naturally, it was too barebones to add anything of substance to either her character’s motivation or the storyline she was part of, and overall it just felt like a very clumsy addition to the episode; the kind of line that might be written by a middle school student in one of their first creative writing projects.

Unfortunately one of Nhan’s lines was the worst in the episode; an underexplained piece of exposition thrown in to artificially ramp up the drama.

Despite that one line being so poor that it detracted somewhat from her return, I liked the role that had been given to Nhan in a more general sense. There’s no denying that Captain Burnham is too close to Book to be objective, and the rest of Discovery’s crew know him well so couldn’t necessarily be trusted either. Bringing in an outsider – or at least somewhat of an outsider – who has the authority to override Captain Burnham in this specific case makes a lot of sense from Starfleet’s point of view, and it was neat that Discovery managed to find a way to address this conflict in a way that felt natural.

I also liked the way Nhan introduced Saru and Captain Burnham to her secondary plan – the secret briefing that she gave them when their first attempt to capture Book and Tarka failed. It fitted perfectly with Nhan’s very militaristic role as a Federation security officer, and the way she presented the plan after the shuttle mission was as close as Starfleet gets to feeling like a military organisation.

This briefing was a very cool idea that was executed perfectly.

Speaking of the shuttle mission, it was nice to see Saru in command for the first time since Season 3! I also really like the shuttlecraft set design, with its rounded consoles and expansive bridge area. We saw this set used when Tilly took a group of cadets on a mission in the episode All Is Possible, and it’s neat that Discovery is continuing to make use of this new space. Because the USS Discovery hasn’t really seen much of a redesign internally, it’s one of the few sets other than Federation HQ that has a 32nd Century feel, and I like that. The USS Discovery has always felt like a ship that blends aspects of the NX-01 Enterprise, the USS Kelvin, and to an extent, parts of the Constitution-class refit into its own somewhat spartan 23rd Century style. I was wondering if we’d see much of a redesign this season, but in lieu of that it’s nice to get scenes like the one aboard the shuttlecraft that incorporate more 32nd Century design elements.

Although it sadly didn’t take up much screen time and wasn’t really expanded upon in a significant way, the conflict between Rhys and Bryce was an interesting one. It makes sense that there’d be members of Discovery’s crew who were generally supportive of Book and Tarka, so giving that debate some air was neat to see. It didn’t last as long as it could’ve, and the resolution – with Bryce offering Rhys a hand after they were beamed back aboard Discovery – was a blink-and-you’ll-miss-it affair, but it was nevertheless an attempt by the show’s writers to expand the story beyond Captain Burnham, Book, Tarka, and Nhan.

This conflict could have been expanded upon, but it was a nice inclusion nevertheless.

The visual effect of the shuttle being “eaten” and torn in half was spectacular, and definitely one of the highlights of the season so far. The “goo” that captured the shuttle seemed to be a visual blend of programmable matter – a stalwart of 32nd Century tech – and the living ice from the Season 3 episode Far From Home that almost consumed the USS Discovery. And as it gripped the shuttle, eventually ripping it in half as it tried to get away, it was an absolutely thrilling spectacle.

I genuinely felt that Saru, Dr Culber, Rhys, and Bryce were in danger during their away mission, and in a series – and a franchise – that almost always sees its heroes make it home safely, that can be a difficult thing to pull off. As Saru led his team, though, I was so immersed in the world of Star Trek that I fully suspended my disbelief! I would add, though, that this isn’t the first time in Season 4 that Discovery has put crew members into dangerous, life-or-death situations only to save them at the last second. Dr Pollard had a very lucky escape in the episode Stormy Weather, and that’s perhaps the most obvious example. It can feel as though Discovery is providing even its minor characters with some very heavy plot armour at times, and while I didn’t feel that way in the moment, as I was thrilled by an incredibly tense, well-constructed sequence, looking back it feels like yet another opportunity to demonstrate the dangers posed by the DMA, Unknown Species 10-C, and Tarka’s weapon that Discovery missed. A character death can be so meaningful and so significant, and even if it were one of the secondary characters involved in this mission, it would still have been impactful; they’re characters we’ve seen in dozens of episodes across more than four years.

This was an incredibly exciting sequence that benefitted from some outstanding CGI work.

After the failed shuttle mission, Discovery chased Book and Tarka into the heart of the DMA. I wish we’d got something – even just a clumsy line of obvious exposition – to explain how it’s possible for the ships to operate inside the DMA with impunity, especially considering how dangerous it was for Book when he piloted his ship inside it in the episode Anomaly a few weeks ago. I guess the explanation is that the central part of the DMA is more gravitationally stable than its outer edges… but something on-screen to confirm that wouldn’t have gone amiss.

Despite that, I greatly enjoyed this part of the episode. It began with a really incredible close-up of Captain Burnham ordering Black Alert – something I still find incredibly cool four seasons in! – and that led us into a ship-to-ship combat situation that was reminiscent of the Battle of the Mutara Nebula in The Wrath of Khan. This sequence was much faster-paced, as the two ships could use their spore drives to jump around, but the basic premise of having to fight without the ship’s full array of scanners, shields, and weapons in the confines of a nebula-esque setting definitely felt like it was drawing on inspiration from what is still one of the Star Trek franchise’s best space battles.

The USS Discovery inside the DMA.

The USS Discovery bridge set saw a significant upgrade this season with the addition of pyrotechnics that could spew jets of fire. That effect was, perhaps, ever so slightly overused earlier in the season, so to see the show return to a more typical “battle damage” style with sparks flying and the occasional chunks of scenery being thrown around was certainly no bad thing. Some effects are best used sparingly, after all!

Partly because Discovery still likes to give most of the significant story moments to Captain Burnham, and partly for the sake of increasing the drama and tension, there was once again a moment during this battle that felt rather contrived. Captain Burnham managed to single-handedly figure out that the DMA wouldn’t leave the area until it had hoovered up all of the boronite particles – something that doesn’t survive a second glance as you’d think everyone would’ve realised that far sooner. It worked to set up the “middle ground” part of the story, offering a compromise to Book, but it feels like something that Stamets and co. should have worked out sooner – they’ve supposedly been working on the DMA for weeks off-screen.

Book and Burnham searching for middle ground.

The shot of Book on the bridge of his ship and Burnham at the console of a shuttlecraft was another that was beautifully composed and cinematic. Discovery could’ve chosen to set up this scene using holo-communicators, and that would’ve worked okay, but there was something about seeing the two characters literally divided that really emphasised the point that the series is trying to make about compromise, reaching out, and doing the right thing. Although I think I’ve made clear that the whole Burnham Relationship Drama™ angle isn’t something I’m wild about, I can still appreciate that it was handled incredibly well at this moment.

It seemed obvious to me that Tarka – the driving force behind this whole renegade mission – would fire his weapon regardless, and so it proved. Perhaps because I’m less invested in the Book-versus-Burnham conflict I wasn’t so distracted by it that I was caught off-guard by Tarka’s actions, but it seemed like Discovery was trying to tee this up as a shocking twist near the episode’s conclusion. In that respect it fell a little flat, but I like that the writers didn’t just forget about Tarka or have him break character by standing down.

Tarka stayed true to his characterisation by launching his weapon.

Tarka was originally presented as an arrogant mad scientist – a character archetype that we’ve seen in Star Trek on a number of previous occasions. But he very quickly showed off a depth that went far beyond that character trope. I would classify Tarka as somewhat of a fanatic; he’s single-mindedly dedicated to his own goal, and is willing not only to go to extreme lengths, but to disregard the feelings and views of practically everyone else in the process. He would hurt – and perhaps even kill – if it meant he could accomplish his objective of going “home” to find the friend he’s been talking about. In that regard, I would compare Tarka with Dr Tolian Soran, the villain from Star Trek: Generations. Both characters share a comparable goal – seeking their idealised versions of paradise – and both are willing to go to extreme lengths to get there.

When the DMA was destroyed, however, we got a very rushed scene with Tarka as he realised the DMA controller had disappeared or been destroyed. He scanned the area for literally a few seconds before sitting down looking dejected, and the pacing of this moment just felt off. We’ve seen in Discovery that sensor scans can take a long time, but even if we set aside nitpicky canon reasons, just as a character moment I think this scene needed more. It wasn’t even clear if he’d miscalculated, destroying the controller, if it had been recovered by Unknown Species 10-C, or something else had happened to it.

This moment needed to be longer.

Shawn Doyle has done a remarkable job bringing the complex Tarka to screen in an understandable and occasionally sympathetic way, so at the moment of what appears to be his biggest gamble and biggest defeat (at least so far), we needed to spend more time with him. With the scene’s short runtime, Doyle did what he could to communicate the extent of Tarka’s disbelief, sadness, and even anger… but a few extra minutes spent here would have gone a long way to paying off an arc that has been running for several episodes. There will be more to come from Tarka, I have no doubt, but this moment feels like it should have been bigger and handled with more significance in his story. This is another consequence of Discovery choosing to prioritise Burnham Relationship Drama™ over practically everything else in the story at this point.

Finally in Rubicon we had a development in the burgeoning relationship between Saru and Ni’Var President T’Rina. In a story that focused on the growing separation between one couple and arguments between friends, it was cute and sweet of the series to dedicate some time to a story like this. It served as somewhat of a counterbalance to some of the heavier themes of separation and failure, but more importantly the chemistry between Tara Rosling and Doug Jones is intoxicating, even with the latter under heavy prosthetic makeup. Saru, despite his wisdom and calm demeanour, is inexperienced in this area, and that’s a nice new angle for his character, too.

T’Rina and Saru sitting in a tree…

Seeing Saru being the one to seek romantic advice toward the end of the episode was interesting, and the candour shown to him by Dr Culber says a lot about the respect and friendliness between the two of them, too. Aside from the away mission earlier in Rubicon, we haven’t seen much interaction between Saru and Dr Culber for quite a long time, so this reminder that other members of the crew have friendships with one another was very sweet. I’m looking forward to seeing how the Saru-T’Rina relationship plays out, and the fact that Discovery hasn’t rushed it is a good thing!

So I think I’ve said more or less everything I wanted to say about Rubicon. It was a mixed episode for me, one where a particular storyline really clogged things up and overshadowed others, but that managed to have some beautiful moments that shone through even when I wasn’t particularly interested in the approach being taken. It was a beautifully cinematic episode, one of Discovery’s best from a visual and technical standpoint, and one that used sound and silence to great effect. Seeing Captain Burnham silently looking around at the climax of the battle was one of the most intense, dramatic moments from all four seasons of the show, and I can’t fault it.

An episode with some stellar performances from both of its leads and a couple of guest stars stumbled under the weight of an unnecessarily heavy storyline that, unfortunately, had all the subtlety of a sledgehammer at times. There were a couple of places where more time could have been spent away from Captain Burnham and Book; stories that are just as deserving of attention that Discovery chose to rush through in favour of spending more time with its protagonist and her angst about her boyfriend. This is a choice that I wouldn’t have made for a series which is well into its fourth season, and it’s one that, unless it gets resolved soon, will continue to be a drag on what is an otherwise excellent and engaging sci-fi adventure.

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 Paramount/ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek 2023: Back to the Kelvin Timeline

Spoiler Warning: There are minor spoilers ahead for the Kelvin timeline films, Star Trek: Discovery Season 3, and Star Trek: Picard Season 1.

Though the news got lost due to yet more corporate nonsense from ViacomCBS/Paramount dominating the conversation online, one of the more interesting announcements from yesterday’s investor event was the news that Star Trek 2023 is going to involve a return to the Kelvin timeline. Details are still sparse, with some outlets suggesting that “most” of the main cast will return, but it’s definitely an interesting move for the franchise at this time.

The Kelvin films were what Star Trek needed in the late 2000s and early 2010s. After close to two decades of continuous production, the Star Trek franchise had been losing viewers and fans, something that finally came to a head with the cancellation of Enterprise in 2005. The Kelvin films came along a few years later, and for all of the criticism some levelled at them, they succeeded at completely rebooting – and in some ways reinventing – Star Trek for a whole new audience. Some of the folks whose first contact with the franchise came at the cinema with one of these films have since gone on to become huge Trekkies, and the films’ influence continues today in some respects.

The USS Enterprise as it appeared in the Kelvin timeline films.

Without the Kelvin films, it’s unlikely that Star Trek would’ve been revived on the small screen in 2017. I regard their legacy as being a bridge between the faltering years of the early 2000s and the new beginning that Discovery gave the franchise, one which ultimately led to Picard, Lower Decks, Prodigy, Strange New Worlds, and everything else that we’ve got coming our way over the next few years. Without the Kelvin films carrying a torch for Star Trek and bringing fresh eyes to the franchise for the first time, it seems likely that Star Trek would’ve stayed dead after 2005.

Practically every Star Trek production has built on the successes of the iterations that came before, and Discovery in particular adopted noticeable visual elements from the Kelvin films. Picard Season 1 expanded on one part of the plot from 2009’s Star Trek, too, giving us much more information about what happened to the Romulans. The Kelvin films’ cinematography was streets ahead of anything Star Trek had done before on the big or small screens, and Into Darkness became the franchise’s highest-grossing film by a country mile. In fact, all three Kelvin films were profitable and made decent money for Paramount Pictures, albeit with the caveat that Beyond was somewhat less successful than its predecessor had been.

Star Trek: Picard Season 1 greatly expanded the Romulus storyline from 2009’s Star Trek.

We’re lucky that, right now, we’re living through a renaissance for Star Trek. There are different shows catering to wildly different audiences, occupying very different genres and telling very different stories. For the first time, it feels like Star Trek has something to offer to almost everyone, whether they want a tense serialised drama or light-hearted animated comedy. There is a place in that diverse array of content for a new Kelvin film, and hopefully it will succeed in the same way as the first three.

If fans discover Star Trek for the first time thanks to this new film – and some surely will – they will find a much richer, deeper, and more interesting franchise today than they would’ve in 2009. With a plethora of new shows being produced, and Star Trek’s future feeling (fairly) secure, at least in the short-term, there will be plenty of new episodes and series for newbies to jump head-first into.

The titular USS Kelvin.

New fans are the lifeblood of any fan community, and we should welcome the opportunities that a new blockbuster film presents to the Star Trek franchise. With Star Trek continuing to be a major pillar of Paramount+ as the “streaming wars” rumble on, the new film could be important, bringing in new viewers in big numbers for the first time in several years. Shoring up the Star Trek franchise and giving it solid ground going forward are all good reasons to support a project like this one.

That isn’t to say that there aren’t things to criticise with the Kelvin timeline films, of course. I know some Trekkies who have ardently refused to watch any of them for more than a decade now, having been so upset at the decision to re-cast the crew of The Original Series. When I started having these conversations in 2008-09, I tried to put myself in the shoes of a big fan of The Original Series, and ask how I would’ve felt if it were The Next Generation that was being re-cast… ultimately I think I’d be fine with it, but I know not everyone feels the same way!

Kirk and Spock in Star Trek Into Darkness.

With the two former companies that came together to form ViacomCBS now working together, presumably there’s one big money pot from which films, television shows, and everything else are bankrolled. I know entertainment finance is way more complex than that, but at a basic level that’s how these big entertainment corporations work. With that in mind, my most significant complaint is that the budget of a feature film could have easily been spent instead on a season or two of television – perhaps even a brand-new show or a couple of miniseries.

Star Trek’s home, for me, will always be the small screen. And with the technological leaps that have been made in recent years, television shows can be just as good – better, in some cases – as anything the world of cinema could ever produce. The undoubtedly vast sum of money being spent on Star Trek 2023 could have been put to better use elsewhere in the franchise, and if it were up to me I’d definitely be arguing for a focus on television shows over films.

Spock, Kirk, and Dr McCoy (with Uhura in the background).

There are also some issues with the Kelvin timeline itself, and I looked at some of these in my “pros and cons” list a few months ago. For me, I think the biggest drawback – or potential drawback, at least – to making a new Kelvin timeline film is that it overcomplicates an already convoluted franchise that can be difficult for newbies to get to grips with.

Try to put yourself in the shoes of someone brand-new to Star Trek. Just of the shows currently in production, we have five different time periods on the go. Strange New Worlds is a spin-off to Discovery, but Discovery’s massive time-jump means they no longer share a setting. Picard is a sequel to The Next Generation, which was set almost 100 years after Discovery – or 800 years before where Discovery is now. And Prodigy and Lower Decks are both set in the late 24th Century too… but not at the same time as Picard. Throw an alternate reality into the mix and the timeline situation becomes so convoluted that it’s borderline offputting.

The Star Trek franchise is complicated, especially for newcomers.

Then there’s the fact that the basic premise underlying the Kelvin films, which was a big part of the original appeal in 2009, no longer exists. A new Kelvin film, arriving fourteen years after the first one, is no longer going to be looking at “young” Kirk and Spock in their early years at Starfleet Academy. With Strange New Worlds following the adventures of the USS Enterprise on its mission of exploration, there’s a risk that a new Kelvin timeline film will seem repetitive or just unnecessary.

Discovery and Strange New Worlds have successfully brought back characters like Spock and Captain Pike, and between now and 2023 we’ll also spend time with the likes of Uhura, too. Different versions of these characters are present in the Kelvin timeline; this adds to both the problem of repetitiveness, with the new film potentially overtreading the same ground in terms of character stories, and also the issue of an unnecessarily complicated franchise. Having to try to explain to a newbie that Kelvin Spock is different from Discovery Spock, who’s also a young version of old Spock who crossed over to the Kelvin timeline… well, let’s just say it isn’t the easiest story to follow!

How many Spocks is too many?

There’s also a hole in the Kelvin timeline’s cast. The tragic death of Anton Yelchin in 2016, and the promise that the character of Chekov won’t be recast, is a sensitive topic, but from a storytelling point of view it’s absolutely fair to point out that Chekov brought a different perspective and a dash of humour to the three films he appeared in. Of course it’s going to be possible to create a new character to fill that role, but it won’t be the same and his absence will be felt.

There are some advantages to a new Kelvin timeline film, though! For me, the biggest one is the creative freedom that the setting provides, and the opportunity to put Captain Kirk and his crew in very different situations. For example, if fans want to see Captain Kirk versus the Borg, the Kelvin timeline is the place to do it! Free from the constraints of fifty years of canon (well, except for Enterprise) the Kelvin timeline is an open-ended setting. The more it diverges from the prime timeline, the greater the opportunities become to tell radically different stories.

Could Captain Kirk soon take on the Borg? Maybe!

That’s by far the biggest and most significant ace in the hole that the Kelvin timeline has. Its unburdened creative freedom allows it to go in very different directions without treading on the toes of any of the ongoing shows and other projects. In that sense, it’s a self-contained setting perfect for telling one-off stories. My “what if” scenario of Captain Kirk versus the Borg is just one of countless examples that fans have concocted over the years!

So that’s where things sit right now. Star Trek 2023 is planning to bring back the Kelvin timeline for a new adventure, a sequel to 2016’s Beyond. And although it wouldn’t have been my first choice if I was in charge of making the investment in the next Star Trek project, it has merit and it has a lot of potential. I’ll certainly be happy to check it out when it releases in December next year… or rather, a couple of months later when it arrives on a streaming platform! My health, sadly, precludes things like trips to the cinema these days.

Star Trek Beyond clearly teased fans with a sequel in 2016, as the film drew to a close in a very open-ended fashion! It felt for a long time as though we would never get that sequel; that Star Trek had moved on to other projects that were taking the franchise in a different direction. The expanded Star Trek franchise in 2022 feels like it has space for a new Kelvin film, though, so I’ll end by saying that I wish it the best of luck!

The Star Trek franchise – including all films and series mentioned above – is the copyright of ViacomCBS/Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

One step forward, two steps back

Here we go again. When Trekkies all over the world should be talking with boundless enthusiasm and unbridled passion about the latest Star Trek announcements, we’re slapped down hard by ViacomCBS – sorry, that should be “Paramount” or “Paramount Global” now – and the corporation’s latest mess. I’m genuinely getting worried for the medium-to-long-term prospects of the Star Trek franchise under the corporation’s current leadership.

Just when I thought ViacomCBS had hit rock bottom with the Discovery Season 4 debacle, paying Netflix to remove the show internationally and preventing fans outside the United States from being able to watch, the corporation has, through sheer ingenuity, managed to sink even lower. Using outdated copyright laws and social media platforms’ heavy-handed DMCA policies to actively attack Trekkies is the latest move; a new low for a corporation that I naïvely assumed could sink no lower.

We need to support Trek Central and other fans who have had their accounts attacked by ViacomCBS. If you’re on Twitter, the hashtag #FreeTrekCentral is the place to be.

ViacomCBS (or whatever it wants to rebrand itself as now) is a corporation that has consistently failed to move with the times. It’s a corporation where 20th Century thinking is trying – and failing – to lead it into the 21st Century, and that’s the poisoned well from which all of these ridiculous, outdated, and harmful policies continue to flow. ViacomCBS has an “America First” fetish that would make even Donald Trump blush, brazenly ignoring fans outside of the United States – even going so far as to point-blank refuse to broadcast brand-new episodes on international versions of its own streaming platform, Paramount+. When will this end?

An investor event today – which was live-streamed on social media – showed off a new teaser trailer for Strange New Worlds, the upcoming Star Trek series bringing back Anson Mount as Captain Christopher Pike. Yet ViacomCBS then went on the attack, literally getting some fans’ social media accounts banned for daring to share still frames and screencaps of the trailer. At time of writing, the trailer itself has yet to be published on any of the official Star Trek social media channels, meaning fans know it’s out there but have no lawful way to access it.

Wouldn’t it be nice if we could see the Strange New Worlds trailer?

There was also “news” – and I use that term in its loosest possible sense – about the painfully constipated rollout of Paramount+ internationally. We knew as early as the middle of last year that the planned launch window for the UK was “early-to-mid 2022,” so today’s so-called “announcement” that the mediocre streaming service will arrive “before the end of Q2” means absolutely nothing. The lack of so much as an attempt at precise timing, or even a narrower window, does not fill me with confidence.

Strange New Worlds – the show whose trailer is now being deliberately hidden and used as a pretext to attack fans on social media – is due to premiere in the United States in early May. The end of the second quarter of the year (or “Q2” in corporate-speak) is at the end of June. Assuming Paramount+ remains on what we could generously call its “schedule,” that seems to suggest that very few Trekkies outside of the United States will be able to watch the show.

The real Paramount+ slogan, apparently.

And if Paramount+ repeats what it tried to do with Discovery Season 4 and successfully did with Prodigy Season 1, then even being a Paramount+ subscriber might not be enough to guarantee that non-American Trekkies will be able to watch Strange New Worlds anyway. In both of those cases, Paramount+ outside of the United States didn’t broadcast new episodes at the same time as they were broadcast in the United States. Paramount+ is already a second-tier streaming service on a good day, but if it gates off its own original content outside of North America, what exactly is the point in becoming a subscriber? Maybe someone at ViacomCBS should ponder that question.

Every time I think we’re starting to see signs of progress, it feels like ViacomCBS takes one step forward and at least two steps back. The corporation has no clue how to act in a 21st Century media landscape that has shifted under its feet, and despite having its own streaming platform for over seven years (CBS All Access launched in late 2014) there’s been no evidence so far that the corporation knows how to successfully operate it, let alone how to bring it to audiences around the world.

Paramount+ will struggle under current management.

I want to support Star Trek. I want to offer my financial backing (in whatever small way I can) to ensure that the franchise continues to be successful and will continue to be produced. And there are some positive signs – Paramount+ has been adding new subscribers, Discovery has been its best-performing series, and shows like Halo and Yellowstone have attracted attention and been picked up for additional seasons. But like I said, for every step forward, there are two steps back. The reputation of ViacomCBS remains in the sewer with many of Star Trek’s biggest fans, and rebranding under a new name won’t fix that.

Social media is the biggest and most important way for any entertainment corporation to get its message out and to bring in new audiences and new subscribers. Look at shows as diverse as Game of Thrones, Chernobyl, Tiger King, and Squid Game. Social media buzz and hype were a huge factor in their success, and why they blew up far beyond their anticipated audiences to become absolutely massive. When ViacomCBS mistreats its biggest fans so badly on social media, and when its own social media marketing strategy is so painfully inadequate, it actively harms the potential success of Star Trek – and all of its other programmes.

Photo of the ViacomCBS board.

I noted this with disappointment in 2020 when Lower Decks was denied an international broadcast, and again in 2021 when the same thing happened to Prodigy. The two most different and interesting Star Trek projects in a generation had practically unlimited potential to expand the franchise and bring in boatloads of new fans – but because ViacomCBS chose to carve them up, deciding for itself which viewers were “worthy” of being allowed to watch the new shows, that potential was wasted.

When ViacomCBS cuts off its own shows at the knees, it doesn’t just harm their potential success in the rest of the world. It harms it in the United States as well. Social media is worldwide, and if fans in the rest of the world aren’t able to participate, the potential buzz and online chatter dies down. The hype bubble deflates, hashtags don’t trend, social media algorithms don’t pick up or promote posts, and untold numbers of potential fans and viewers miss out. They never even come to hear that Lower Decks, Prodigy, or Strange New Worlds exist because ViacomCBS made sure that millions of Star Trek fans don’t talk about them online.

Prodigy remains unavailable to most fans around the world.

Attacking fans is a new low, and rebuilding trust between ViacomCBS and Trekkies should be top priority for the corporation as it moves forward. It won’t be, but it should be. But there are more problems deeply-rooted within ViacomCBS and its corporate attitude, one which puts “America First” with vigour. That kind of thinking was outdated by the turn of the millennium, and fixing it is going to be essential to the future success of Paramount+.

One way that the corporation could win back fans’ support would be to guarantee that Strange New Worlds won’t be broadcast until Paramount+ has been rolled out to more countries. If there’s a delay in the rollout, there should be a delay in the new show as well. I’m sure some American Trekkies would be disappointed, but others wouldn’t mind waiting an extra few weeks or months if it means more Trekkies will be able to join in. It would be good for the fan community, and for the reasons mentioned above it would be good for Strange New Worlds’ prospects, too.

Strange New Worlds will premiere in May… if you’re lucky.

As for me, I remain extremely disappointed with Star Trek’s corporate overlords. If Strange New Worlds doesn’t come to the UK at the same time as it does in the United States, we end up right back in the piracy debate. I feel fans have an absolute moral justification to go right ahead and pirate it – if ViacomCBS chooses not to make it available lawfully, piracy becomes the only way to access the show. I will certainly have no qualms about going down that road.

But if Strange New Worlds doesn’t come to the UK, why should I cover it? In my own small way on my little corner of the internet, I offer the Star Trek franchise what amounts to free publicity, talking about shows and sharing my passion. It would feel wrong to offer my support to a series that ViacomCBS has, for what would be the third time in as many years, tried to deny to millions of fans around the world.

My message to the board and leadership at ViacomCBS (or Paramount as it’s now going to be known) is simple: do better. Treat your fans with basic respect, stop abusing outdated copyright laws, fix your social media marketing, find a way to bring your shows to the millions upon millions of fans who are literally opening our wallets and offering you our cash, and if you can’t do all of that, then get out of the way and make room for other people who can. Your intransigence and outdated thinking have already caused immeasurable harm to Star Trek, so you need to fix those things – before it’s too late.

The Star Trek franchise – including all properties mentioned above – is the copyright of ViacomCBS/Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery theories – week 8

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.

After an unexpected sabbatical, Discovery Season 4 returned with the episode All In. If you read my review of the episode, you’ll know that I didn’t think it was the strongest one of the season so far, but it was interesting in some ways and certainly contained some excellent performances from all of its leading stars. Because All In was, in large part, a detour as Book, Burnham, Owosekun, and Tarka scrambled to get their paws on a magical macguffin molecule called isolynium, most of our big ongoing theories didn’t see significant movement this week. That said, there’s still a lot to talk about and a few updates to get through!

There are still some big open questions, and with five episodes left I’m expecting at least some of them to start moving in pretty big ways in the next week or two! For me, the biggest point of interest right now is whether the season’s big stories will connect in a major way with past iterations of Star Trek. There are a few different ways this could happen, but a big part of me suspects that, as with the Burn in Season 3, we’re going to get something altogether new.

This week we have one confirmed theory and one theory on the production side of things that I’m very pleased to see has been debunked! As always, we’ll start there before moving into the main theory list.

Confirmed theory:
The DMA isn’t a super-weapon.

Burnham, Stamets, and Rillak examine Unknown Species 10-C’s point of origin.

Although I felt that the sequence which contained this revelation was cut rather short, Captain Burnham, Stamets, Zora, and Saru managed to figure out between them what the DMA’s true purpose is. Rather than being a super-weapon, as had been originally assumed, the DMA is a glorified piece of mining equipment, or as Captain Burnham put it, a dredge.

Its purpose appears to be to scour the galaxy for the rare isotope boronite – something that was first mentioned in the Voyager Season 4 episode The Omega Directive. Boronite can be used to synthesise omega molecules – one of the most powerful substances in the known galaxy – but Unknown Species 10-C appear to be using it to power their hyperfield – a kind of forcefield or cloak which is concealing their base or star system.

The DMA’s purpose is to harvest boronite, a rare molecule first mentioned in the Voyager episode The Omega Directive.

I really like this angle. If the DMA isn’t a natural phenomenon, which it seemed to be at first, then having it be something other than a weapon adds a different dimension to the story, one which takes it away from being a fairly typical conflict into something more complex – and, I would argue, more “Star Trek.” We’ve talked about the “it was only trying to communicate!” trope in relation to the DMA before, and how misunderstandings have long been part of Star Trek’s storytelling tradition, highlighting the complexities of dealing with very different cultures and the dangers of making assumptions. This side of the story seems to be cut from the same cloth.

This also seems to rule out other theories about the DMA, such as it being an experiment gone wrong. There’s still room for further twists and turns in the DMA’s story, though, so let’s wait and see what happens, and just what purpose Unknown Species 10-C has in mind for all of this boronite!

Debunked theory:
Star Trek: Discovery isn’t going to be renewed for a fifth season.

Phew! I was getting genuinely worried when we passed the season’s halfway point with no indication of a Season 5 renewal. In past years, we’d always known either before the season kicked off or within a week or two of its premiere that the show had been renewed, so when we got further and further in with no official news – and no rumours of production starting quietly – I began to get worried for Discovery’s future.

But in January, while the show was on hiatus, ViacomCBS confirmed that Discovery will indeed get a fifth season – making it the first show since Voyager to make it that far! (Sorry, Enterprise) This is great news, because I’m not ready yet to say goodbye to Captain Burnham and the crew. There’s so much scope for more adventures in the 32nd Century, and I feel like Discovery could continue to expand and explore this setting, perhaps laying the groundwork for more 32nd Century shows.

So those theories were confirmed and debunked.

Now we can jump into the main theory list! As always, we’ll begin with those theories that are either new or that saw significant movement in All In, before rounding out the list by recapping the rest of them.

Theory #1:
Tarka will realise that there’s a tracker on the isolynium.

Captain Burnham placed a tracking device (highlighted) on the container of isolynium.

Tarka is sharp, and more than that he has access to – and the ability to build – clever pieces of tech. We saw this week that he was able to create a changeling-capturing machine out of a low-quality Devore scanner. It stands to reason he’d want to scan the isolynium that Book procured, and if he’s as thorough as we’ve seen him be so far, perhaps he’ll figure out that Captain Burnham placed a tracking device on it.

If so, the signal that Captain Burnham showed off at the end of All In may lead to a dead-end! I’m sure that the USS Discovery will catch up with Tarka and Book – if not, the story would be fairly short and boring, after all – but it may not be as simple as following the map to the cleverly-placed tracking device.

Theory #2:
Tarka’s weapon will be successful.

Isolynium – a key component of Tarka’s weapon.

President Rillak has tasked Admiral Vance and Captain Burnham with stopping Book and Tarka before they finish work on their weapon and use it against the DMA, fearing that destroying the DMA will lead to all-out war with Unknown Species 10-C. The obvious story route from here is that Captain Burnham and the crew will track them down and either talk them out of it or destroy the weapon before it can be used. But that may not be the direction that Discovery plans on taking us.

It could be more interesting in some ways if Tarka and Book succeed in their aim of launching and detonating the weapon, destroying the DMA and attracting the attention of Unknown Species 10-C. Such a highly advanced species – if they’re as advanced as everyone is assuming, anyway – would be a formidable opponent, but they could also be willing to listen to diplomatic overtures. Perhaps Tarka and Book would have to be sacrificed, imprisoned with Unknown Species 10-C as punishment for their crime.

Tarka and Book.

Speaking of diplomacy, in the mad rush to stop Book and Tarka, I certainly hope that President Rillak hasn’t forgotten about trying to contact Unknown Species 10-C. At the very least, now the Federation knows where they are they should send a message warning them of Book and Tarka’s intentions. It might have to be more of a rush job that the Federation would have preferred – but it would be better to at least make an attempt at first contact in case Captain Burnham can’t stop the weapon in time.

Discovery is definitely unpredictable right now, and I could easily see the series taking its main story to unexpected places. Book and Tarka successfully deploying their weapon would be just one example, and it could make the introduction of Unknown Species 10-C all the more intense, exciting, and edge-of-your-seat thrilling.

Theory #3:
Unknown Species 10-C is extinct.

R.I.P.

We’ll talk in a moment about what All In might mean for my Unknown Species 10-C suspects! But there’s one possibility that I hadn’t really given much thought to that suddenly came to the fore in light of the fact that Unknown Species 10-C is still a mystery and, more significantly, that Starfleet has no way of scanning their base/star system. What if Unknown Species 10-C has already gone extinct?

Perhaps they went extinct recently, or perhaps it was millennia ago. The DMA might be Discovery’s equivalent of the Planet Killer from The Doomsday Machine; an automated device left behind, a warning to the real world about the dangers of some of our long-lasting environmental and technological impacts.

Is the DMA going to turn out to be similar to the Planet Killer?

The DMA could even be Unknown Species 10-C’s last-ditch effort to prevent their own extinction. Having used up their entire power supply, they had to build such an imprecise, devastating machine to harvest all of the boronite they could possibly find just to keep the lights on and their machines powered. There could be an interesting analogy there, too.

Because Unknown Species 10-C remains hidden from us going into the next episode, all sorts of possibilities remain on the table. This could certainly be a different and unexpected way to take the story, and perhaps the culmination of the plot would be more of a technological puzzle than a conflict against an adversary, with Captain Burnham leading Starfleet’s efforts to figure out Unknown Species 10-C’s technology in order to deactivate the DMA.

Theory #4:
Nhan works for Section 31.

Nhan.

Spoiler warning for the next episode, Rubicon, but Nhan will be making a return to Discovery! I thought it was unfortunate that she was shuffled off the ship at such an early stage in Season 3; there was scope, I felt, for more Nhan stories. So it’ll be great to welcome her back to the show in just a few days’ time!

One thing struck me about Nhan based on a couple of photos that the official Star Trek social media channels released, and that’s her uniform. Nhan isn’t kitted out in the standard Season 4 Starfleet uniform that the rest of the crew wear. Hers appears to be a new variant, possibly in a similar style to Lieutenant Willa’s from Season 3. There are many possible explanations for Nhan’s uniform, including an assignment at Federation HQ or a continuation of her service aboard the USS Tikhov, but one interesting possibility comes from Nhan’s background as a security officer. Maybe she’s been recruited by the 32nd Century equivalent of Section 31.

Theory #5:
Tarka’s mysterious “friend” is someone we’re already acquainted with.

All In saw a brief conversation between Tarka and Owosekun in which the subject of his mysterious friend came up. There seems to be more going on with this character than meets the eye, though whether Tarka was being genuine in his emotional reaction isn’t 100% clear! It’s a distinct possibility that his friend is, in fact, a love interest or even a spouse, and that could certainly be an interesting development.

The fact that Discovery has gone out of its way to keep this character’s identity a mystery is interesting as well, and one reason for doing so could be that Tarka’s friend is someone who we as the audience have already met. If it wasn’t a big deal, why not just have Tarka say the individual’s name? The more appearances Tarka makes without revealing this character’s identity, the more strongly I feel that it will turn out to be someone we’ve already met.

I put together a short list of possible candidates for being Tarka’s mysterious friend, and you can find it by clicking or tapping here.

Theory #6:
Book and Burnham will get back together.

Burnham and Book in All In.

I have to be honest: I’m not interested in more Burnham Relationship Drama™. Discovery has already done this with Ash Tyler in Seasons 1-2, and it was okay then, but it’s overdone by now. I get where the central conflict with Book has come from, but I don’t feel that the show needs this additional injection of drama to make Season 4’s story work. If I were to cut one aspect of the Season 4 story that we’ve seen so far, it would be this.

So with that in mind, my hope is that the Book-Burnham feud will be brought to an end – and hopefully within the next couple of episodes. Ideally I’d like to see them get back together, although some of the things they said to each other in All In might make that more complicated. If Burnham manages to stop Book and Tarka, perhaps he’ll come around to her way of thinking. If they’re successful in using the weapon, the argument they had will become a moot point. So there are different ways this could go, but I’m hopeful that it will be resolved soon as it’s an aspect of the show that I’m really not wild about.

Theory #7:
The DMA is a life-form.

“It’s alive!”
Frankenstein (1932)

The revelation that the DMA is a mining tool or dredge would seem to make this theory a lot less likely – but I’m not yet willing to strike it from the list. There are several ways it could unfold, but one possibility is that the DMA is a self-aware piece of technology, comparable to Zora. Perhaps it’s carrying out its orders, unaware of the damage it’s doing, and will be able to be reasoned with even if Unknown Species 10-C won’t back down.

Or perhaps the DMA has gone rogue, operating without Unknown Species 10-C’s permission. That would also be an interesting angle, as it could mean that Captain Burnham and Starfleet will have to ally with Unknown Species 10-C to stop the DMA. Some aspects of this theory as I originally formulated it – such as coming to an understanding with the DMA in a story comparable to V’Ger’s in The Motion Picture – seem to be off the table entirely. But the DMA being a self-aware, conscious machine isn’t… at least, not yet!

Theory #8:
Unknown Species 10-C is a faction from a past iteration of Star Trek.

Could it be the Borg?

The revelation of the hyperfield at Unknown Species 10-C’s point of origin was an interesting one. A field that size could conceal a small star system, as Admiral Vance suggested. But it could also hide something like a huge fleet of starships – or giant mechanical aliens. In my view, there are only a few likely candidates remaining from the long list I put together before Christmas. The technology required to create the DMA and the hyperfield seem to rule out factions like the Klingons, the Gorn, and others.

But there are still some known Star Trek factions with the potential capability of building something like this. I would point to the Borg, the super-synths from Picard Season 1, Enterprise’s Sphere-Builders, the Kelvan Empire from The Original Series (who are also an extragalactic faction), and possibly others like Species 8472, V’Ger, the Q Continuum, or the Terran Empire.

How about Species 8472?

I confess that I feel a sense of déjà vu right now. In Season 3, I theorised and speculated about possible culprits behind the Burn, and a lot of the same names and factions were in the frame then, just as they are now. The Burn ultimately went in a very different and unpredictable direction, and I feel that Unknown Species 10-C could end up in a similar place as a brand-new faction altogether. Because of the mysterious nature of the story, and how long it’s been rumbling on, would that feel like an anticlimax? If Discovery encouraged fans to guess and speculate about who Unknown Species 10-C are, would it be disappointing if the answer was “someone new that you could never have guessed?” I can’t shake the feeling that it might be.

For a more detailed look at the suspects mentioned above, as well as a few less-likely contenders, check out my full list by clicking or tapping here.

Theory #9:
President Rillak knows what the DMA is and may be implicated in its creation.

President Rillak, leader of the United Federation of Planets.

I will admit that, as things stand at the end of All In, President Rillak is looking less and less likely to be involved directly with Unknown Species 10-C and the DMA. But there’s still time for a connection to be revealed!

In short, President Rillak’s single-minded goal of reuniting the Federation may be well-served by providing the disparate members with an enemy or a problem to unite against. The DMA has already accelerated Ni’Var’s membership, and President Rillak even got to speak with a representative from Earth – so if she is involved somehow, her scheme is already paying dividends. At the very least, I think it’s fair to say that this complex, somewhat Machiavellian character is not letting the crisis go to waste, and is politicking off the DMA’s trail of destruction.

President Rillak with Captain Burnham on Ni’Var.

In her dealings with Captain Burnham, I’d argue we’ve seen this Machiavellian edge to President Rillak. In the Ni’Var negotiations depicted in All Is Possible, and again for a second time in But To Connect, President Rillak used Captain Burnham to advocate positions that would’ve been politically or diplomatically difficult for her to do openly – effectively manipulating those events from behind the scenes.

In light of all of this, I would hope that Captain Burnham will tread carefully with President Rillak. She seems the type who would happily throw Burnham and the USS Discovery under the bus if it suited her political and/or diplomatic ends. If someone like that felt that unleashing the DMA, or failing to warn everyone that it was coming, would be to her advantage, I can absolutely see her seizing on that opportunity, too. There are myriad ways in which we could connect her to the DMA, even if she didn’t order its creation. She could be in cahoots with Unknown Species 10-C, she could have learned about the DMA and chosen to cover it up, or something else that she believed was in the Federation’s long-term interests.

Theory #10:
Michael Burnham won’t remain captain of the USS Discovery.

Captain Burnham.

One of the unique aspects of Discovery within Star Trek’s broader canon is that the ship has been commanded by four very different individuals across its four seasons. Captain Burnham is different from Saru, Saru was different from Pike, and Pike, in turn, was different from Lorca. It has to be considered at least a possibility – albeit a remote one, perhaps – that the series will continue this trend.

Now that we know that Season 5 is definitely happening, one possibility is that Captain Burnham will somehow leave the ship at or around the end of Season 4, making way for a brand-new commanding officer to take over. Because she’s been the show’s protagonist since Season 1, it seems unlikely, and the overall arc of Discovery between Season 1 and Season 3 can be read as Burnham’s redemption and ascent to the captaincy. But the show’s revolving door of captains may continue.

Burnham in The Examples.

I’m not really in favour of this, but it’s certainly interesting to consider. The episodes But To Connect and All In definitely showed us how conflicted Burnham feels with regards to Book; she’s torn between her duty and the person she loves. Maybe she will have the strength to do what she believes is right during the DMA crisis, but will resign afterwards, unable to contemplate doing the same thing again and wanting to return to her simpler life with Book. This wouldn’t be a bolt from the blue, as we saw her wrangling with these feelings in Season 3.

Alternatively, Burnham could be promoted, taking up a senior role within Starfleet either at Federation HQ or on a new flagship. We already know that she had been in the running for the captaincy of the USS Voyager-J, so maybe she’ll convince President Rillak, through her work on the DMA, to reconsider her for that role. In short, there are ways her departure could be handled in a way that would feel natural – just like Tilly’s departure did earlier in the season.

Theory #11:
The Guardian of Forever will be back.

The Guardian of Forever as it originally appeared.

I’m close to retiring this theory. In short, I had suggested that the reintroduction of the Guardian of Forever in Season 3 could mean that we’ll encounter the timeless entity again in Season 4. It would be nice to bring back Paul Guilfoyle, who played the Guardian’s humanoid avatar in the Season 3 two-parter Terra Firma.

However, it seems as though the DMA/Unknown Species 10-C story isn’t going in that direction. It would make sense, in a way, for Captain Burnham to seek out the Guardian to ask it about the DMA and Unknown Species 10-C – it may well know something about what’s going on that could be helpful. But the best time to have done that would have been earlier in the season. There are still ways in which the Guardian of Forever could be included, though, so although I’m close, I’m not dropping it just yet.

Theory #12:
Tarka will create his own DMA.

Tarka and Stamets with their DMA model.

In The Examples, Tarka – aided by Stamets – created a working replica of the DMA, albeit on a smaller scale. According to Reno, this recreation came very close to destroying the entire ship! Now that Tarka has isolynium, could it be possible that he will create the DMA – either intentionally or accidentally?

Because of the DMA’s wormhole technology, it doesn’t seem like too much of a stretch to think it could travel through time as well as space, meaning a possible time-loop story is on the cards. It’s got to be at least possible to think that throwing a massive bomb at the DMA could have unintended consequences – if, that is, Tarka actually intends to build a bomb! He might see the DMA’s technology and seek to replicate it, creating his own DMA as a means to break through into the parallel universe he’s aiming to reach.

Theory #13:
Tarka’s “friend” is directly involved with the DMA.

Stamets, Tarka, and Saru with the DMA model.

Though we didn’t learn a lot more about Tarka’s friend in All In, from what we do know about them – their scientific background and desire to travel to an alternate reality – they could be a candidate for building the DMA. Unknown Species 10-C could, perhaps, be a single person, or Tarka’s friend could have worked with them, trading their scientific knowledge for Unknown Species 10-C’s power-generating technology.

Like with President Rillak, there are different ways this involvement could work, and different degrees to which Tarka’s friend could be implicated. But one thing is clear: Tarka knows a lot about the DMA, probably more than he’s been willing to share. That knowledge has to have come from somewhere, right? Maybe his friend told him about this technology before they got separated.

Theory #14:
Book will find Kyheem and Leto on the other side of the DMA.

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 almost eighty years earlier. Now that we know a little more about how the DMA operates, it seems at least faintly possible that, just like Captain Kirk, the inhabitants of Kwejian may not be as dead as they first appear.

This theory is, I freely admit, a bit of a long-shot. But the wormhole technology that we know the DMA uses seems to be capable of sending some of what it harvests or mines back to Unknown Species 10-C’s base of operations. Maybe that means that some of the people from Kwejian were transported there instead of being killed.

So those theories are new or saw movement this week.

Now we’ll recap all of the other theories currently in play! It helps to keep the list complete and in one place, so that we can update and cross off theories as we go!

Theory #15:
Tarka aims to travel to the Kelvin universe.

This scene in Terra Firma, Part 1 referenced the Kelvin universe.

There are many parallel universes, as Tarka reminded us in But To Connect. Though Star Trek has shown us a number of different parallel universes before, the biggest one that comes to mind (aside from the Mirror Universe) is the Kelvin timeline, in which the three reboot films were set.

A fourth Kelvin film may or may not be happening, but even if it does the setting remains ripe for further exploration. We don’t know how far the Kelvin timeline and the prime timeline will have diverged, and whether it operates like the Mirror Universe with every character getting their own alternate counterpart. If it does, perhaps Tarka met his own Kelvin timeline counterpart and that’s how he cooked up this scheme. If the Kelvin timeline diverged significantly from the prime timeline it stands to reason that the Burn never happened there. We also got an oblique Kelvin timeline reference in Season 3 – could that have been a hint?

Theory #16:
Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.

Adira and Stamets with a map of the Milky Way galaxy.

In But To Connect, President Rillak told us that the diplomatic summit she convened would bring together races from “all four” quadrants. Assuming she was referring to the familiar Alpha, Beta, Gamma, and Delta Quadrants that make up the Milky Way galaxy, this would count as our first mention of the Delta Quadrant in the 32nd Century. I didn’t spot any familiar Delta Quadrant races (or their emblems) amongst the assembled delegates, however!

I had previously speculated that the Burn may not have affected the entire galaxy equally, and that regions farthest away from the Verubin Nebula may have survived without much damage. I still think that this is a possibility – though whether Discovery will revisit the Burn in any depth, or visit the Delta Quadrant at all, remains unclear.

To see a full write-up of this theory, click or tap here.

Theory #17:
There will be a character crossover from a past iteration of Star Trek.

Star Trek has had some wonderful crossovers in the past.

Tarka’s friend could, as mentioned, be someone we’ve already met. But there are other ways to bring back a character from a past iteration of the franchise – and there would be many potential benefits to doing so! I had initially proposed a version of this theory in the run-up to Season 3 that centred on the Doctor from Voyager – but with some creative technobabble, practically anyone could be included, despite the leap forward in time.

Choose To Live showed us the Abronians in cryo-sleep, and Stormy Weather saw the crew of Discovery use the transporter buffer to survive – just like Scotty had done in The Next Generation Season 6 episode Relics. Could these be hints at something to come?

It would also be possible for Captain Burnham to discover the logs or a holographic recording of a long-dead character – and while this would be less of a “crossover,” it could still be a ton of fun and great fan-service!

Theory #18:
Season 4 will connect with the Short Treks episode Calypso.

Zora dancing with Craft in Calypso.

Zora’s status as a member of the crew was confirmed in But To Connect, and this followed her developing emotions and sentience earlier in the season. Zora is now much closer to her presentation in Calypso, potentially bringing the story of the Short Treks episode one step closer.

There are still significant hurdles to overcome if the story of Calypso is to be wrapped up in Season 4, though. Obviously we have the timeframe issue: will the USS Discovery be sent back in time, be abandoned, or is Calypso taking place centuries in the future? Then we have the USS Discovery itself – it’s been retrofitted since arriving in the 32nd Century, and now looks very different to how it did in Calypso. I’m not sure how Discovery will overcome these hurdles – but it’s possible. It feels like a proper link-up with Calypso is edging closer week by week.

Theory #19:
A major character will be killed off.

Spock’s funeral in The Wrath of Khan.

Lieutenant Tilly’s departure in All Is Possible definitely shook up the cast. And Gray’s departure in But To Connect may do so as well. However, I stand by what I said before the season aired: killing off a character can be a great way to demonstrate the dangerous nature of the circumstances that the crew have found themselves in. So far, despite tangling with the DMA on several occasions, only a couple of redshirts have lost their lives.

In Stormy Weather, Dr Pollard raced through the corridors of the USS Discovery to reach a hull breach. Shortly after she arrived, a redshirt was blown out into space – but Dr Pollard survived. Although moments like this can make it feel that Discovery is shielding its main and secondary characters with some pretty heavy plot armour, I still feel that there’s scope to see a major character death before the season ends.

If you want to check out my pre-season “death predictions,” in which I speculated about which characters may or may not be in danger, you can find that by clicking or tapping here.

Theory #20:
The crew will have to defend the Verubin Nebula.

The dilithium planet is vital to the Federation.

Despite having grown to sixty member worlds, the Federation is still in a weakened state and isn’t yet back to full strength. 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 cache of the valuable fuel, whoever controls the Verubin Nebula will have a massive tactical advantage.

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 #21:
The ban on time travel will be explained in more detail.

The USS Enterprise was able to travel through time using the “slingshot method.”

This one is as much a hope 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 #22:
The Federation has flouted the ban on time travel.

President Rillak may have tried to circumvent the ban if she felt doing so would be in the Federation’s interests.

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 there are other Federation leaders – such as President Rillak – who could be implicated.

I don’t think it’s possible any more that the DMA story will be connected to the time travel ban, as I had previously proposed. But that doesn’t mean that a closer look at the ban, and the potential for the Federation to have tried to work around it, isn’t going to happen.

Theory #23:
Saru will be given the captaincy of the USS Voyager-J.

Captain Saru in command of the USS Discovery in Season 3.

Saru’s future was briefly discussed before he offered to serve as Captain Burnham’s first officer in the episode Anomaly. 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?

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. This could also set the stage for his departure from the show, or possibly even for a new show following his adventures aboard his new ship.

Theory #24:
The Red Angel suits from Season 2 are connected to the DMA.

Captain Burnham’s Red Angel suit at the end of Season 2.

Unknown Species 10-C seem to be responsible for building the DMA. But it isn’t the first wormhole-creating technology that Discovery has introduced us to! The Red Angel suits in Season 2 were also capable of creating powerful wormholes… so could it be possible that Unknown Species 10-C built their device around or based on the same technology?

This revelation would greatly affect Captain Burnham, as she’d feel a degree of responsibility even though she wasn’t directly involved. It would also be the second disaster in a row (following the Burn) in which the Federation was implicated – albeit in an oblique way. I’m not convinced that Discovery will go down this route… but the similarities in the wormhole-creating technology gives me pause, at least.

Theory #25:
We haven’t seen the last of the Abronians.

I currently have four ideas for different ways that the Abronians – the non-humanoid race that Captain Burnham, Tilly, and the Qowat Milat helped save from cryo-sleep in the episode Choose To Live – could play a further role in Season 4.

Theory #25 A:
The Abronians’ homeworld was destroyed by the DMA.

Captain Burnham believes this image depicts a “supernova.”

After arriving at the Abronians’ cryo-ship, Captain Burnham found a stone carving that seemed to depict the destruction of the Abronians’ homeworld. This carving was only shown on screen briefly, but it seemed to show the planet being damaged or destroyed in a large explosion. Burnham credited the planet’s destruction to a “supernova,” and the story then raced ahead.

Considering that the main thrust of the season so far has been about the DMA, perhaps Burnham was incorrect: the Abronian homeworld was destroyed by the anomaly, not a supernova.

Theory 25 B:
The Abronians’ homeworld was on the “other side” of the DMA.

Abronian stasis pods.

Now that we know a little more about how the DMA works, this theory seems a little more plausible. Its powerful wormhole technology seems capable of transporting matter over many light-years, meaning it doesn’t seem to be a complete stretch to think that the Abronians may have originated in the vicinity of Unknown Species 10-C. They could even be Unknown Species 10-C!

One thing struck me as odd about the Abronians: the Federation was entirely unaware of them, despite the Abronian cryo-ship being relatively close to Federation space – such that Captain Burnham could reach it using Book’s ship in a short span of time. It’s possible that the Abronians had been asleep for millennia, unnoticed by the Federation and the wider galaxy for all that time. But it’s also at least possible that their cryo-ship is a newcomer to the area. If so, perhaps it arrived here via the DMA.

Theory #25 C:
The Abronians will return to help the Federation later in the season.

A deceased Abronian.

One of the themes of Discovery since Season 3 has been connection, including building connections between the Federation and other races and organisations. The Abronians were awoken from cryo-sleep thanks to the interventions of Captain Burnham and Tilly – at least in part – and they may seek to repay the Federation, or Captain Burnham personally, for that help.

We saw this play out last season with Ni’Var; in the season finale Ni’Var ships raced to the Federation’s aid as the Emerald Chain attacked. Perhaps the Abronians will likewise step up to help when the Federation needs allies.

Theory #25 D:
The Abronians’ moon-ship may be useful in a later story.

“That’s no moon…”

The Abronians’ cryo-ship is huge, and at least superficially seems to have the mass of a moon or small planetoid. If Captain Burnham and the crew needed a starship that large, such as to aid in the evacuation of a planet threatened by the DMA, for example, perhaps they’ll return to the Abronians and ask to borrow it.

As we saw in Choose To Live, the moon-ship was in full working order. All it needed was some extra dilithium to power up and it was perfectly capable of moving under its own power, and its computer systems were still functional. The only system that seemed to have failed was the wake-up timer! Discovery has precedent when it comes to telling seemingly one-off stories that have a pay-off later on, so watch this space. If Captain Burnham and the crew need a huge starship urgently, we may not have seen the last of the moon-ship!

So that’s the main theory list.

There is still one production-side theory in play, so we’ll recap that now before we wrap up.

Production-side theory:
Tilly’s departure will be permanent.

Tilly’s departure feels permanent.

Mary Wiseman confirmed in an interview with Wil Wheaton on The Ready Room (Discovery’s social media aftershow) that Tilly will be seen again before the end of Season 4, and we glimpsed her in the trailer for the second half of the season as well. But that doesn’t mean she will return as a main character on the show going forward, and her departure in All Is Possible felt permanent. Despite that, I’ve seen quite a lot of folks online who don’t believe that Tilly is actually leaving the series – so I wanted to put it out there officially and say that, in my opinion anyway, she is.

Maybe those people know something that I don’t! As I always say, I don’t have any “insider information;” all of this is just speculation on my part. However, I feel that the manner of Tilly’s departure, the fact that she got that emotional sequence with Captain Burnham, a montage showing her leaving the ship, Adira seeming to take over several of her roles, and her departure feeling like the culmination of her arc going back to the latter part of Season 3 all come together to strongly indicate that she won’t be back as a major character. She may yet have a significant role to play in a future Season 4 episode, as has been suggested, but unless Discovery’s writers are really playing with our emotions I believe we’ve seen Tilly’s end as a main character on the show. She may come back in a future Starfleet Academy series, though… so watch this space!

So that’s it!

Owosekun in the combat arena in All In.

It’s all still to play for as we move into the final five episodes of the season. There are several key stories to find resolutions to: the DMA, Unknown Species 10-C, the Book-Burnham drama, and more. There’s also plenty of time, in five episodes, for Discovery to take off on a side-mission or two, as well as to introduce completely new and unexpected story elements. It’s even possible that Season 4 will end on a cliffhanger now that we know Season 5 is happening… so perhaps none of the big stories will be resolved until 2023. Say it ain’t so, Joe!

Before we go, one final point. I write up these theories because I like Star Trek and I like writing. But for some folks, fan theories can hamper their enjoyment of a film or television show. It’s worth keeping in mind that most of these theories probably won’t pan out, and we have to be prepared for the fact that even the most well-constructed fan theory, no matter how fun and plausible it seems, simply won’t turn out to be true. If you find that speculating and reading theories is beginning to detract from your enjoyment of Star Trek: Discovery – or any other television show or film – it might be a good idea to take a break for a while.

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, Google Play, 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.

Five planets that Star Trek probably won’t revisit any time soon!

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Original Series Season 2, The Animated Series, The Next Generation Season 1, Voyager Season 2, Star Trek 2009, Picard Season 1, Discovery Season 3, and Lower Decks Season 2.

I wouldn’t even like to guess how many different planets (and other planetary bodies) have been visited across all 800+ episodes and films in the Star Trek franchise! It must be a lot… maybe someone has been keeping a tally, but I certainly haven’t! There are some worlds that we’ve visited more than others – Bajor, Qo’noS, and of course Earth all spring to mind. But there are some planets that, for one reason or another, are best left behind in the franchise’s past.

As Star Trek moves on to bigger and better things, some planets – and their inhabitants – seem outdated, or perhaps the concept behind the planet was never a good one to begin with. Today I thought it could be interesting to consider five examples of planets that Star Trek will almost certainly never revisit!

Planet #1:
Ekos

The USS Enterprise in orbit of Ekos (as it originally appeared).

Ekos was created for The Orignal Series Season 2 episode Patterns of Force, but you might know it better as “that Nazi planet.” There’s definitely scope for the Star Trek franchise to tackle authoritarianism, fascism, and even Nazism – and as recently as 2004, Enterprise put its own spin on the “Star Trek-versus-Nazis” concept. But there are a few deeply unsettling things about Ekos, and how its Nazi-inspired government came to power.

First of all we need a brief history lesson! In the 1960s, when Patterns of Force was created, some historians, economists, and other political scientists regarded Nazi Germany as an “efficient” state. Resting all power in a single individual, they argued, made for a powerful government that could be run very efficiently. In Patterns of Force, Federation anthropologist/historian John Gill cites this theory as the reason for introducing Nazism to the Ekosians.

Ekos is also known as “Planet of the Nazis.”

That theory was flat-out wrong, and even by the 1970s and 1980s, the flawed thinking that led to the myth of “Nazi efficiency” had been exposed and thoroughly debunked. In short, Nazi Germany was a very poorly-run government, with a handful of cronies of the führer wielding disproportionate levels of power, and micromanagement in certain departments and industries majorly hampering the state’s industrial output. How this myth ever came to be as widely believed as it was is, in some respects, a bit of a mystery. But suffice to say that the central conceit behind Patterns of Force has been exposed as a falsehood.

John Gill, the academic at the heart of the story, also represents a very distinct kind of betrayal of Federation values, taking things to perhaps the most unpleasant extreme possible. Star Trek has never shied away from showing us flawed human beings and Federation officials, but Gill is a step too far, and Patterns of Force can be an uncomfortable watch for many Trekkies.

John Gill, the Federation historian who became the Führer of Ekos.

Though it might be interesting, in some respects, to revisit Ekos in the 24th, 25th, or 32nd Centuries to see how things had progressed, in many ways it’s a planet – and a story concept – that should probably remain on the sidelines. Modern Star Trek can tell far more subtle stories about authoritarianism, racism, and the like without needing to resort to overt depictions of Federation-sponsored Nazism.

Patterns of Force is based on an outdated concept, and while it was brought to screen quite well by the standards of The Original Series, with some clever visual effects for the time and some surprisingly accurate costumes, it feels like an anachronism overall. This is one best left behind in the 1960s!

Planet #2:
Megas-Tu

The USS Enterprise near Megas-Tu.

The Animated Series had some very wacky sci-fi concepts. Taking Star Trek away from live-action meant that the franchise was no longer confined by the limitations of practical special effects, and thus it was possible to depict things like a 40-foot tall clone of Spock, an entirely underwater civilisation, or, in The Magicks of Megas-Tu, an alternate universe where magic is real and science is not.

I’ve always had a soft spot for The Magicks of Megas-Tu, and I think it’s an episode that every Trekkie should watch at least once. It’s an example of mid-century sci-fi at its wackiest, but it manages to retain a Star Trek tone throughout the very unusual adventure that Captain Kirk and the crew of the Enterprise find themselves on.

A group of Megans departing their homeworld.

With the possible exception of Lower Decks, which has been more willing to explore some of the stranger elements of classic Star Trek, I can’t imagine Megas-Tu ever making another Star Trek appearance. How would it fit in Discovery, for example, or Picard? The tone of modern Star Trek is just too different – and even by the time of The Next Generation, Star Trek had moved away from concepts like this. Megas-Tu feels homeless, in a sense, in a franchise that has moved on.

That isn’t to say that it was a bad concept when it was first developed, but like several ideas from The Original Series and The Animated Series, magic and fantasy just seem to be a step too far for a franchise that has retained its esoteric side and sense of fun, but refocused them into more science-based stories rather than stories that use literal magic and fantasy as core elements.

Cheers!

It’s hard to see how a story about Megas-Tu could fit in with modern Star Trek. Audience expectations have shifted when it comes to science-fiction, and with the Star Trek franchise moving away from stories like The Magicks of Megas-Tu, it seems very unlikely that we’ll see anything like it in the franchise anytime soon.

There’s also the in-universe problem of travelling to the Megans’ universe, and while technobabble can always be created to explain away these things, it seems like a bit of a stretch. It’s possible we’ll get more references to The Animated SeriesPicard Season 1 made reference to the Kzinti, for example. But a full revisit to Megas-Tu is probably off the table!

Planet #3:
Ligon II

Ligon II.

The planet that inspired me to put together this list, Ligon II was visited in Code of Honor, the notorious Season 1 episode of The Next Generation that has been widely criticised for its use of racial stereotypes. The Ligonians encapsulated stereotypes of Africans and African-Americans, and Code of Honor has to be one of the worst episodes of The Next Generation as a result.

Some stories from past iterations of the franchise are open to redemption; to being revisited to right the wrongs of the past. We’ve seen this, to an extent, with certain characters in modern Star Trek who saw much-needed development or expansions of incomplete arcs. We’ve also seen Lower Decks revisit planets like Beta III to comment on Starfleet’s somewhat chaotic approach to first contact.

Code of Honor has been widely criticised for stereotyping.

But Code of Honor and the episode’s depiction of the Ligonians feels so utterly wrong that it’s irredeemable. There are some parts of Star Trek’s past that the franchise brushes under the carpet, choosing to ignore and even overwrite things rather than try to fix the unfixable. Captain Pike’s “woman on the bridge” line in The Cage is such an example – overt sexism from a character that we’re now very excited to see return. Ligon II and Code of Honor are definitely in the “let’s all just pretend that never happened” category… for the good of the franchise!

It’s amazing, when you think about it, that Code of Honor was produced as late as 1987. It would still feel outdated had it been part of The Original Series in the 1960s, but to know that it was produced for The Next Generation – within my own lifetime – is one of those things that boggles the mind.

A ritual combat arena on the surface of Ligon II.

Code of Honor is an episode that I think Trekkies need to watch. It’s worth remembering that, despite its lofty ambitions and attempts to depict a better future, the people who create Star Trek can still make mistakes. This was an episode that Gene Roddenberry had some creative input in and signed off on – he was The Next Generation’s executive producer at the time.

The episode is noteworthy for its complete lack of awareness. The people who created this story, cast it, and put it to screen were so blind to the offensive stereotypes that it depicted that they allowed it to progress and even get broadcast. Star Trek may have made strides, even in its early years, in its attempts to confront and tackle things like segregation and race hate – but it was blind, at times, to subtler, more covert forms of racism and racial stereotyping.

Planet #4:
Uninhabited Delta Quadrant world

A hyper-evolved human on the surface of this unnamed planet.

This planet doesn’t have a name… but I vote we call it “Tom Paris and Captain Janeway’s sex planet.” That’s right, it’s the planet from Threshold! After crossing the Warp 10 barrier and experiencing hyper-evolution, Tom Paris kidnapped Captain Janeway and took her to this remote, uninhabited world somewhere in the Delta Quadrant. By the time Chakotay and the crew of the USS Voyager tracked them down, both Paris and Janeway had mutated into amphibious salamander-like creatures… and mated.

Although the crew of Voyager successfully recovered Paris and Janeway and the Doctor was able to revert them back to their human forms, for some reason they left their offspring behind. That means somewhere in the Delta Quadrant, little human-salamander offspring are polluting a perfectly innocent planet that was just minding its own business. I’m pretty sure that violates the Prime Directive… in the most disgusting way possible.

This planet now belongs to the human-salamander babies.

As much as some fans (myself included) like to joke about Threshold – which is absolutely one of Voyager’s worst stories – I can’t see Star Trek ever doing anything more with this episode, this concept, or the planet visited in the final few minutes. For completely different reasons to those laid out above, this is another part of Star Trek’s past to simply ignore!

Again, the one exception could be Lower Decks, which has an irreverent take on these things. We saw mating mugatoes in the Season 2 episode Mugato, Gumato, so I wouldn’t put it past the Lower Decks team to dream up a reason to bring back the human-salamanders one day! After all, Tom Paris made an appearance in the show!

Tom Paris in Threshold.

To Threshold’s credit, it won an award for its prosthetic makeup, and while the story was undeniably ridiculous to the point of abject failure, it was at least an attempt to go into a little more detail about Warp Drive and the limits to warp speed. It never sat right with me that Warp 9.9999 was as fast as anyone could ever go… but Warp 10 was supposedly fast enough to travel anywhere in an instant.

However, as with many technobabble things in Star Trek, maybe the complexities of Warp Drive work better when they’re left ambiguous! Ambiguity and vaguery allow for the creative teams to take stories in wildly different directions, allowing for maximum storytelling potential without different writers and different shows being constrained or tripping over one another.

Planet #5:
Romulus

Romulus as it appeared in Nemesis.

What? Too soon?

Romulus was destroyed during the events of 2009’s Star Trek, and we got to learn a little more about this event and its aftermath in Star Trek: Picard Season 1. Though the Romulans survived – well, some of them did, anyway – their homeworld, as well as its sister planet of Remus, is gone. The surviving Romulans are living on a number of other worlds in and around the territory of their former Empire.

The destruction of Romulus was shown in 2009’s Star Trek.

Both Star Trek and Picard Season 1 were somewhat ambiguous on this latter point, though. We don’t know how many Romulans survived, where they went next, or even what became of their Empire. We do know that a faction called the Romulan Free State existed as of 2399, but that the Tal Shiar and Zhat Vash still existed in some form too, and were able to launch military operations on Earth, at the heart of the Federation.

Presumably Romulus’ destruction didn’t kill off either organisation, and the fact that they retained the capability to launch such powerful operations suggests that the Romulan government and its espionage operation still exist in some capacity, presumably having relocated to a different world. To what extent the Romulan Empire remains united is unclear, as is the fate of races like the Remans, who had second-class citizen status.

The Romulan capital city as it appeared in Inter Arma Enim Silent Leges.

With Star Trek: Picard Season 2 going in a different direction, I presume we won’t be in a position to learn much more about the Romulans for a while. But if there are future 24th and 25th Century stories in the years ahead, it would be nice to get some kind of closure; to fully learn what happened to the Romulans in the years and decades after the loss of their homeworld.

By the time of Discovery’s 32nd Century, at least some Romulans had relocated to Vulcan as part of a reunification project. The planet was renamed Ni’Var, and while tensions still existed between the Romulans, Vulcans, and Romulo-Vulcans, it seems that the Romulans got a happy ending of sorts – even if it took centuries to get there!

So that’s it.

The USS Enterprise in orbit of Earth.

There have been plenty of fun and interesting worlds that the Star Trek franchise has visited, with many making just one single appearance. Modern Star Trek has contained a number of references in dialogue or on-screen displays to some of these worlds, giving us tantalising teases about what became of them after we last saw them. Those references are always appreciated!

With over fifty-five years of history and more than 800 episodes at time of writing, it’s inevitable that not all of these planets (and the peoples who populated them) worked well or would be worth going back to. Fortunately it’s relatively uncommon for Star Trek to have made truly egregious missteps, but there are certainly some episodes – and the planets and factions they included – that are best left behind. I hope it was a bit of fun (or at least mildly interesting) to consider a few examples today!

The Star Trek franchise – including all films, series, 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.

Star Trek: Discovery review – Season 4, Episode 8: All In

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4 and Star Trek: Voyager Season 4.

After what seemed like a never-ending six-week break, Discovery has finally returned to our screens! I don’t necessarily mind a mid-season break in principle, but the way Discovery’s was handled was poor from ViacomCBS and Paramount+. Being announced with mere days to spare seems intentional, as if it were deliberately designed to make sure that fans had no opportunity to cancel or suspend their Paramount+ subscriptions. We’ve talked on several occasions recently about the need for ViacomCBS and Paramount+ to get a grip and demonstrate that they’re serious about this whole streaming business – and randomly announced, unscheduled mid-season breaks are not a particularly good look.

The six-week break opened up a gap for Star Trek: Prodigy, though – and if you skipped it or didn’t want to check it out because it’s billed as a show for children, do yourself a favour and reconsider! Prodigy was fantastic, and managed to be a series that really embodied the spirit of Star Trek. Unfortunately it’s only available “officially” if you live in the United States (even Paramount+ in Australia didn’t broadcast the full ten episodes for inexplicable reasons) but I daresay you can find a way to watch if you so choose. Check out my spoiler-free review of Prodigy Season 1, Part 1 by clicking or tapping here.

If you missed Prodigy, go back and check it out. I can’t recommend it highly enough.

So let’s talk about All In. The episode had a very strong “Star Wars” feel for the most part, with the gamblers’ den that served as the main setting definitely taking its cues from comparable locales in the Star Wars franchise. The Karma Barge felt like Star Trek’s answer to the Mos Eisley cantina in the original film, complete with shady aliens, drinking, gambling, and criminality – all under the watchful eye of a charismatic crime boss. And I can’t be the only one to notice the similarity between the way the names of Haz Mazaro and Star Wars’ Maz Kanata sound, can I?

I don’t object to these kinds of “out of bounds” places existing in Star Trek, and we’ve seen lawless settlements and shady saloons in basically every iteration of the franchise in some form or another. It’s a trope from westerns that the franchise inherited going all the way back to its inception. In the context of a post-Burn galaxy it makes sense that places like this would exist and would be popular with a certain proportion of the population. I guess the only real thing to say is that this Karma Barge was definitely more Mos Eisley cantina than Quark’s – and that’s a choice that the show’s writers and producers made.

The Karma Barge felt like something lifted from the Star Wars franchise.

After a break of six weeks, putting Book and Burnham back together makes a certain kind of sense. There are only another five episodes to resolve everything before we get to the end of the season, after all. But if we watch But To Connect and All In back-to-back, and take into account statements made by President Rillak in particular about the in-universe passage of time, the story feels pretty weak. All In kicks off mere hours after the events of But To Connect, and although it arguably says something about the connection or similarities between Book and Burnham that they both chose to visit the same location… it makes the story feel incredibly contrived.

Also, considering the major contrivances required to simply get these two in the same room, I’m not sure this pretty weak story setup actually accomplished very much. Book and Burnham are no closer to resolving their feud than they were at the end of But To Connect, and in some ways are a step further apart having tried and failed to talk it out. I think we needed at least one episode in between But To Connect and the Book-Burnham reunion to really let things sink in for both of them, so going from that conflict over the vote last time (which was itself a rather weak premise that could have been easily resolved) to this episode, with another phase of the conflict in a pretty contrived setup, leaves me struggling to find many positive things to say.

Book and Burnham were reunited.

If All In had been a stronger episode overall, with a stronger central premise, perhaps some of those feelings would’ve melted away. If we’d spent longer getting to the Book-Burnham reunion, or if the gambling storylines were better written (to put it bluntly) I could’ve seen myself getting to a place where it would’ve been possible to write off some of these contrivances. But as you can probably tell already, I felt that All In’s story was, once we cut through the contrived fluff, not an especially strong one.

Book and Tarka definitely got the better and more interesting part of the story, as they had to earn the magical macguffin molecule by tracking down a cheater in the gamblers’ den. Though All In skipped over much of Tarka’s process as he tracked down the changeling and modified a piece of equipment to trap them, it was a neat premise and one that, for lack of a better term, had a very “Star Trek” feel to it in what was, as mentioned, a setting that definitely drew on other sci-fi/fantasy influences. As an aside, I don’t think this changeling was a Founder – there are other shape-shifting species in Star Trek, and the way this changeling switched forms didn’t remind me of Odo in any way.

Tarka caught a changeling gambling cheat.

We also got to see glimpses of how well Book and Tarka actually work as a duo. In a scene at the tail end of The Examples we got to see them together for the first time, albeit briefly, and But To Connect showed them coming together to try to win the vote. But it was here, for the first time, that we really got to see their dynamic as a dysfunctional duo – and it works remarkably well. Shawn Doyle and David Ajala play off one another’s strengths beautifully, and they do an excellent job at showing how these two characters have such radically different motivations for undertaking this mission.

There was a moment later in the episode which seemed to hint at Tarka perhaps having some kind of emotional draw to the “friend” he told Book about in But To Connect that arguably goes beyond “just” friendship. It’s possible that this character is a love interest for Tarka, which could be an interesting development if: a) this character is still alive, and/or b) they’re someone we as the audience might be familiar with. Neither of those points is guaranteed, so this could be a red herring that doesn’t go anywhere significant.

Did Owosekun touch a nerve when she pressed Tarka about his “friend?”

That scene between Tarka and Owosekun was cleverly-written, though, and I honestly can’t tell if Tarka was responding to Owosekun with genuine emotion or was feigning it in some kind of double-bluff. He’s an egotistical man, that’s something we’ve known since even before we first saw him on screen, but whether he’s capable of lying and manipulating at that level to throw people off-balance is unclear right now.

All In was a good episode for Owosekun, giving her a storyline comparable in scale, at least, to Detmer’s in Season 3. A lot of folks have complained about Discovery not making good use of its secondary cast – the bridge crew in particular – so this might be the writers and producers responding to those criticisms. A similar role could have been created for Burnham or several other main cast members – so the choice to put Owosekun in this situation was definitely a deliberate one.

All In gave Owosekun her biggest role in the season thus far.

It was definitely a sweet moment to have Burnham and Owosekun paired up, and they worked well as a character duo for this part of the story. The moment between them on the shuttle was perhaps the strongest, at least from an emotional point of view, and aside from episodes like Explorers, where Captain Sisko and Jake went on their own adventure, it’s got to be one of the very few missions in Star Trek’s 800+ episodes where both principal characters were black. Add into the mix Book and the only non-black participant in this story was Tarka.

Unfortunately, though, I felt that Owosekun’s big fight was not well-constructed. This was the central turning point of the mission for her and Burnham, and there are basically two ways to interpret what happened. Either Owosekun was, as her rivals later alleged, essentially hustling the fight by throwing the first two rounds – which I don’t believe, based on the extent of her injuries and her interactions with Burnham – or the fight was simply badly-written and poorly-filmed, not allowing us as the audience to see any of the process involved as Owosekun presumably tried to figure out how to outplay her opponent.

Owosekun’s fight sequence was not well-constructed.

From where I was sitting, here’s how it looked like the fight went down: Round 1, Owosekun got her butt kicked incredibly easily by a far larger, stronger opponent. Round 2: the exact same thing happened. Round 3: out of nowhere, and with all of their money on the line, Owosekun suddenly became 10x stronger and was able to win by magic.

We needed to see something – anything, really – to indicate what was going on. Was Owosekun using the first two rounds to spot weaknesses or patterns in her opponent’s fighting style that she later exploited? If so, that was subtle to the point of being hidden. Was she, in fact, hustling, knowing that the odds would get better with each defeat? Again, if so, that was not communicated to us as the audience. Fights don’t work like this in any contact sport in the real world – so either the explanation is childish writing, saying that Owosekun “got good” at the perfect moment, or the explanation is bad writing and/or filming and editing, meaning that essential elements of the story were simply not well-communicated to us as the audience.

Owosekun on the ropes with her opponent in the background.

In a story that was already choked by the contrivance of Book and Burnham finding their way to the same place within hours of the events of the previous episode, the poor way in which the fight was executed on screen added to the sense that All In was just not working very well. It was exciting in the moment, I will happily concede that point. And Oyin Oladejo did a creditable job at making me feel that Owosekun was in danger, but determined. Combined with her scene with Tarka later on, it was her best episode of the season so far, and her best performance since That Hope Is You, Part 2 in Season 3. It’s just a shame that the material itself wasn’t particularly strong.

The final part of the episode depicted a card game with Burnham, Book, and two nobodies, with the magical macguffin molecule on the line. And here’s a piece of free advice to the writers of Star Trek, Star Wars, or literally any other sci-fi or fantasy franchise: if you’re going to make a card game an essential part of your story, either make it a familiar card game or explain the rules. Spending nearly ten minutes watching people play a card game that was impossible to follow because it used different designs for the cards and different rules was not entertaining in any way, and this sequence was the episode’s weakest by far.

Haz Mazaro and Burnham at the card table.

The game was called Leonian poker, and despite the “poker” moniker, the rules were not explained at all. The non-face cards had a vaguely familiar design, but were different enough that it wasn’t easy to see at a glance who was winning or who had a strong hand. And this sequence dragged as a result. Now I will freely admit that watching professional poker is not something I care about in the slightest, but at least if I do watch a poker game I know the rules and can follow what’s going on. Here, a combination of the card designs, lack of clarity over the rules, and the pacing of the sequence itself meant that it was impossible to follow what was happening. This led to a deeply unsatisfying feeling of being on the edge of my seat hoping Book and Burnham could defeat the “Emerald Chain holdouts,” but not knowing what was going on or who was in a good position. The entire sequence was just frustrating.

When designing any kind of fictional card game, it needs to either have its mechanics explained, or be visually very easy to follow – or ideally both. This game, while it may or may not have followed the basic rules of poker, was neither explained nor visually simple enough to be intuitively understood, and I think it’s that combination that detracted from this sequence. If it had been a shorter sequence it might’ve worked better, but it lasted almost eight minutes – and those minutes really did seem to drag.

I found the card game frustrating and difficult to follow.

The upshot of all of this was that Book won the game, meaning that he and Tarka could escape with the magical macguffin molecule. I think there was something at least somewhat visually underwhelming about this isolynium, too, that made the stakes of the whole gambling operation – and the threat from Burnham that Book was crossing a line that he “could never come back from” – feel a bit anticlimactic.

In the real world, of course, we have materials like plutonium and uranium which don’t look like much, but are very dangerous, and isolynium is clearly modelled after elements like those. But it doesn’t make for a visually impressive presentation in the way that, say, a barrel of glowing, pulsing, neon pink goo might have had. That’s a deliberate aesthetic choice on the part of the show’s creators – but coming in an episode that had a number of other weak elements, the fact that the highly sought-after prize that all of our characters were desperate to procure was a vial of nondescript metallic flakes no bigger than a coffee mug was definitely an anticlimax. I didn’t know what to expect from isolynium – as far as I know the material is new to Star Trek – but the way the magical macguffin molecule was presented felt like a bit of a let-down in visual terms. Discovery has done some exceptionally interesting things with some of its visual effects across all four seasons, including in a number of unimportant or background areas. For something so vital to the plot to be so visually uninspired made this moment underwhelming.

The isolynium – the macguffin at the centre of the episode’s story – was visually unimpressive.

All of this led us to Book and Tarka taking the magical macguffin molecule and leaving, planning to build the weapon. I don’t really see what was stopping Burnham having the USS Discovery on standby to jump in and try to apprehend them after they’d left the barge (which was, understandably, neutral ground). But I suppose that’s a bit of a nitpick. Technologies like the Spore Drive can feel kind of overpowered, so using them sparingly is probably no bad thing! What’s the betting, though, that Tarka already figured out about the tracking device and leads Burnham and the rest of Starfleet to a dead-end? Maybe I’ll save that one for my theory update!

The conflict between Rillak, Vance, and Burnham was one that had the potential to be interesting, but it strayed very close to feeling as though Rillak in particular, but also Vance, were lashing out at Burnham for something that she couldn’t have reasonably been expected to predict. Book’s turn in But To Connect was sudden, and their theft and escape came 90% from Tarka – he was the one who stole the Spore Drive prototype. I can understand the frustration that Rillak in particular would have as she tries to keep the Federation united, and I think Chelah Horsdal did a good job portraying that complex emotional state.

Vance and Burnham during their meeting with President Rillak.

It was also somewhat of a rarity to see Admiral Vance get a bit of a dressing-down from the Federation President. We’ve usually seen Vance very composed and in control, but this situation has exposed a vulnerability for him, as he fears not being able to see his family – or even for their safety – in the event of war with Unknown Species 10-C. Again, a stellar performance from Oded Fehr communicated Vance’s emotions expertly. I also liked that Vance was willing to find loopholes and bend the rules for Burnham, something that I think he would never have considered under normal circumstances.

As the episode was drawing to a close we got a tiny tidbit of information about Unknown Species 10-C. Much of the rest of the episode felt like a detour, so it was important in the closing moments to advance the season’s main story in some way. The revelations this week were that Unknown Species 10-C appear to have some method of cloaking an entire star system – making them far more powerful than the Federation had been anticipating – and that the DMA is designed to harvest a particular particle: boronite. This could be a reference to the Voyager episode The Omega Directive, in which boronite was said to have been used by the Borg to synthesise an omega molecule – one of the most powerful substances in the Star Trek galaxy.

Unknown Species 10-C live here.

This sequence was cut a little short for me; I felt Discovery could have made more of the explanation of this new angle. The DMA being akin to a mining tool confirms what I’d been suspecting – that it isn’t a weapon – but the scene in which this was explained was very short on detail. Burnham makes huge assumptions based on only a few pieces of information, and may not have the complete picture. For storytelling reasons I daresay her assumptions are accurate and I’m not expecting any of it to be reversed or undone, but I feel like a longer sequence with a bit more time for debate and discussion could have got us to the same place in a bit more of a believable way.

Finally, one of the more understated moments in All In was actually one of the best. Dr Culber had been feeling overwhelmed with his role as ship’s counsellor, and that slow build finally boiled over in what was a rare emotional moment in an episode that had its focus elsewhere. The sequence between Dr Culber and Stamets in their quarters was tender and sweet, and reinforces how the pair really are Discovery’s emotional core.

Dr Culber finally got to confront some of his bubbling emotional issues this week.

It also tapped into a theme that Discovery has been running all season – and going back to last season, too: trauma. Different members of the crew have come to stand for different responses to trauma and different parts of the grieving process. We saw Tilly choose to take a very different path, leaving the ship. Gray returned to Trill to try to pick up the pieces of his training. Book had been most strongly affected by grief and ended up going down a dark path. And in Dr Culber’s case, he’d been throwing himself into his work at the expense of taking care of himself.

Feeling that he had failed Book, and also failed to prevent Book from taking the actions he took in But To Connect, Dr Culber was blaming himself and taking it as a personal failure. Stamets seemed to be able to get through to him, though, and that’s definitely a positive thing. Showing how love can cut through moments like this is something that we’ve seen Discovery do on occasion, and it was powerful here.

Stamets and Culber took some time away from work.

So I think that’s it for All In. Overall, I’d say it was a bit of a disappointment, despite some individually strong performances and well-constructed moments. The central conceit of putting Book and Burnham back together in such a random way didn’t work for me, and as a result much of the drama at the gamblers’ den felt contrived. The climactic card game was too difficult to follow, leading to a sequence that dragged on far too long and was frustrating to watch, and when All In did find time for fun or interesting moments, they tended to be cut short in favour of returning to the contrived, less-interesting side of the story.

I don’t want to say this is “the worst episode of the season,” because that makes it sound like I hated it and it was irredeemably terrible. I don’t think All In was an awful episode; it’s certainly streets ahead of the likes of Season 2’s The Red Angel. But it was a bit of a let-down, and a weak reintroduction to Discovery after its six-week break.

With only five episodes remaining, there’s still a lot of work to do; All In didn’t move the needle in a major way. Tarka and Book are still on the run, planning to build their weapon. Unknown Species 10-C is still out there and still hidden. The DMA is still doing its thing, flitting about the galaxy. And Starfleet is still two steps behind both. It will take a lot to bring Season 4’s storylines together and start wrapping things up! I hope Discovery is up to the task.

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.

Balancing the cost of living in 2022

If you’ve been a regular reader since last year, you might remember that I pre-ordered Starlink – Elon Musk’s satellite internet. I did so in large part because I live in a rural part of the UK that has been overlooked by fibre broadband, 4G, and basically every other improvement to the country’s ageing, decrepit communications infrastructure. I have broadband, which some rural dwellers still don’t, so in that sense I’m lucky – but my download speed at the best of times caps out at around 7 megabits/second, and at bad times I can barely get online at all.

Starlink originally promised to be available in “mid to late 2021,” before revising that to “early to mid 2022.” I would say, as an aside, that Starlink was very poor at communicating that change to me, and for much of 2021 I was holding out hope that I’d hear something from the company, especially because I’d paid a fairly hefty deposit. Better communication with customers may be something for Starlink to work on, at least from my limited experience with the company!

Starlink is a satellite internet company.

But I’m no longer going to be enjoying ultra-fast space-age internet. I recently cancelled my pre-order – and not because of any complaints about the company or the slowness of their rollout. I can understand that things get delayed, that the queue was long, and when you’re dealing with something as complex as literally launching rockets full of satellites into space, there are going to be bumps in the road sometimes! I’m not a “Karen,” feeling a sense of entitlement, and I want to make that clear.

Unfortunately, though, in 2022 I’m no longer in a position to be able to afford Starlink. The service would cost a little over three times the price of my current internet package, and with rising bills across the board, I can no longer guarantee that I could afford to pay that amount. I certainly wouldn’t want to sign myself up to a contract, committing to pay that money for twelve or eighteen months.

I definitely won’t be signing up for any long-term contracts right now!

Since mid-2020, my electricity bill has already risen by over 25%. That isn’t because I’m using any more electricity – in fact, thanks to things like LED lightbulbs and a better, more efficient heater, I’m probably using less. But the UK’s privatised electricity industry has been jacking up prices left, right, and centre. And that was before the current increase in oil and gas prices internationally sent energy prices skyrocketing.

In addition to the 25% rise that I’ve had to absorb over the last few months, my electricity bill will soon rise by another 50%-60% on top of what I’m currently paying, wiping out a huge chunk of my already meagre disposable income. Inflation is also biting me in the backside, with food prices having risen already in the last few months, and prices for some of my essential toiletries and other goods also shooting up. As a disabled person on a fixed income, there’s very limited room for manoeuvre, and as such I’m having to make decisions like the Starlink one in order to remain financially solvent in the months ahead.

The price of electricity is going up by a lot.

With all of that in mind, I’ve also decided to cancel my Netflix subscription. With Star Trek: Discovery being withdrawn from the service, and relatively few other projects that excited me coming up in the short term, it’s a significant chunk of change saved every month. Because I can’t really get out to the shops very often, and can’t lift anything heavy, I rely on Amazon for a lot of deliveries, and the cost of Amazon Prime per month is more than worth it when I stack it up next to the delivery charges I don’t have to pay, so keeping that one makes more sense. Netflix is a great service and I don’t dislike it, but something had to go, and when it came to a choice between Netflix and Amazon, Amazon won that particular fight.

In the late 2000s and early 2010s, I got into a lot of financial trouble. Suffering undiagnosed mental health issues, working through a divorce, and other pressures in my life saw my spending get out-of-control, and with the abundance of cheap credit that was given out far too readily by misbehaving banks, I found myself in quite a financial pickle after a few years of mismanaged finances and a difficult period of my life. It got so bad that I had bailiffs show up several times and was even threatened with prison at one point.

I faced money problems earlier in my life.

It took a long time to crawl out of the financial hole I’d dug for myself, and even now my credit rating is still so poor that I can’t access anything but the most expensive, high-interest loans and cards. So when I say I can feel my back getting closer and closer to the wall, I really mean it. If the current rate of price rises and cost increases continues, I’m very quickly going to have nowhere left to go!

During the pandemic, the government had provided a small increase to the benefits they pay out to people like me who are disabled, as well as to jobseekers and other low-income folks. This extra money was withdrawn back in the autumn, despite a public outcry, and that’s another reason why I’m left with fewer options at the moment. The current government has proven itself to be far too inflexible, unwilling to make changes to policies even as the situation in the real world has changed (and deteriorated). Even in the autumn, when this policy was still being debated, there were many economists, politicians, and other such folks who had the foresight to see price rises and inflation pressures coming. They warned the government not to go down this road – but their voices were ignored, sadly.

The UK government (Palace of Westminster pictured) is not handling the cost of living crisis particularly well.

The way the government calculates its figures also allows them to manipulate things so they can get away with paying out less than they should. There will be a very modest rise in my income in April, but the rate of this rise was calculated months ago and thus doesn’t account for the current rate of inflation – meaning it will be more than eaten up by the aforementioned electricity bill rise and other price rises.

It’s sad to be starting 2022 with such a bleak forecast and having to scale things back, but this is the reality of our pandemic-riddled world. I fear that we’ve only seen the very beginnings of some of these problems, and that things like electricity and food prices will rise, rise, and rise again before the end of the year. There’s already talk of another significant rise in energy bills in October.

There’s already talk of more inflation and more price rises to come.

I’m not yet in a position of having to choose whether to “heat or eat,” as the current anti-slogan suggests. But because I’d already scaled back as many of my costs as possible over the years, I don’t have a lot more room to make cutbacks. I usually only heat the living room, even in the depths of winter. It’s -3°C outside as I write this early on a February morning, but I find that the one heater I have in the living room is usually adequate.

There are two remaining subscriptions that I could potentially cull, depending on how much worse the financial outlook gets. I currently subscribe to both Disney+ and Xbox Game Pass for PC – though the latter is currently paid for for the next few months thanks to a Christmas present from my sister! But in theory I could save another few pounds a month by cutting those. But once those are gone, that’s all the wiggle-room I have! Those are my only remaining non-essential bills, and as a disabled person for whom leaving the house is a challenge at the best of times, I feel that it’s important to have things like this so I can access entertainment and keep the old brain cells from decaying!

I’m sticking with Game Pass… at least for now.

I’m not in imminent danger of freezing nor of starving… but the fact that, in the UK in 2022, that statement should need to be made at all is pretty telling. I don’t like to get political here on the website at all – but I’m definitely upset with the current government and its inflexibility when it comes to solving these problems.

That’s not to say that I have all the answers, not by any stretch. But in the next few months, and certainly by the end of 2022, something’s got to change. I know I’m not the only one in this position of having to make cutbacks to be able to continue to afford the essentials, and as a disabled person who relies on certain mobility and toileting products, there’s more than just food that I have to buy every month. It isn’t possible to cut back on those things!

There are essentials – like food – that we can’t live without!

So this was a bit of an update, really. I guess you won’t see many Netflix reviews here on the website for the next few weeks and months – but I’ll continue my usual output of Star Trek content, I’ll definitely take a look at anything new from Star Wars, and I’ll keep up my regular commentary on the ins and outs of the video games industry – even if I may not be in a position to play any of the games that don’t come to Game Pass this year!

I try to avoid piracy – except in specific circumstances. If a film, TV show, or video game is available here in the UK lawfully, I’ll either pay for it or skip it. It’s only when greedy, moronic corporations refuse to broadcast their latest shows or make their films available here in the UK that I’ll sail the high seas! And as I’ve said before, I think that’s a pretty fair way to approach it.

If you’re suffering as a result of inflation or any of the other financial issues we’ve talked about today, there is help available. Here in the UK you can talk to organisations like Citizens Advice, and they definitely helped me during the period when I was struggling with debt. I can’t make any further recommendations other than to check what’s available in your local area. I hope that, if you find yourself in choppy financial waters, things settle down quickly – for all of us!

This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The Book of Boba Fett review

Spoiler Warning: There are spoilers ahead for The Mandalorian, The Book of Boba Fett, The Last Jedi, and other iterations of the Star Wars franchise.

I wasn’t sure what to expect from The Book of Boba Fett when it was unexpectedly announced at the end of The Mandalorian Season 2. I was hopeful for a new series set in the Star Wars galaxy – only the second-ever live-action TV show in this setting – but I’d also felt underwhelmed by both The Mandalorian and a slew of announcements from Disney and Lucasfilm that seemed to be relying far too heavily on Star Wars’ past at the expense of trying anything even slightly new and different.

The Book of Boba Fett was, in many ways, the nostalgia overload that I expected it would be. The show could feel, at times, like executive producers Jon Favreau and Dave Filoni were two Star Wars-loving kids playing with life-size action figures of their favourite characters. Whether it was Boba Fett riding a Rancor monster, Luke Skywalker building his Jedi Academy, the Mandalorian wielding a lightsaber, or characters from The Clone Wars making significant appearances, The Book of Boba Fett had this almost child-like tone that harkened back to the Star Wars adventures kids have enjoyed making up for decades.

Boba Fett riding a Rancor in the series finale.

A friend of mine (who is far smarter and more astute than I am) also noted, with a degree of disappointment, that The Book of Boba Fett had a “lighthearted Disneyfied edge” at times, with some of the show’s potentially dark themes of violence and criminality being blunted or just outright ignored in favour of creating something that would work for younger kids as well as teens and adults. And I can’t deny that – several sequences in The Book of Boba Fett could have been transposed into the most basic of Disney Channel comedy shows with barely any adaptation required.

In addition, The Book of Boba Fett relies very heavily on The Mandalorian, to such an extent that anyone who hasn’t watched the previous two seasons would be, I suspect, rather lost – especially in the final two or three episodes in which the titular Boba Fett scarcely features. There was the return of Grogu (Baby Yoda) at Luke Skywalker’s Academy, Din Djarin (Mandy) seeking out the survivors of his Mandalorian clique, the residents of Mos Pelgo and their sheriff, and even the Tatooine mechanic who found him a brand-new ship to replace the destroyed Razor Crest. Though the way in which Mandy was written into the story made a degree of sense – as I can believe he’d feel he owed something to Boba Fett after the way he helped out in The Mandalorian Season 2 – it made the final three episodes of what was only a short seven-episode season feel like the first part of The Mandalorian Season 3.

Mandy returned in a pretty big way.

All of the pieces fell into place for The Book of Boba Fett to be a series I’d expect to find completely disappointing… but I didn’t. Even the incredibly weak, hand-wavy explanation for Boba’s survival after Return of the Jedi couldn’t dampen my enthusiasm for what was an enjoyable romp in the Star Wars galaxy, and when I would’ve expected to find myself sighing with disappointment at the overuse of classic characters and other nostalgic crutches, I found myself so immersed in what was a thoroughly engaging story that I just… didn’t. That isn’t to say that The Book of Boba Fett was “perfect,” not by any stretch. But it was fun – despite its imperfections.

It’s words like that that I’d use to describe The Book of Boba Fett. It was a series that had huge entertainment value, depicting a rip-roaring adventure across the sands of Tatooine. Perhaps it’s specifically because of the “Disneyfied” toned-down darker moments, but the show managed to have this incredibly positive, energetic atmosphere that cut through all of the nonsense and amplified the exciting and emotional moments in its story, making it a fun watch almost all the way through.

Boba with Fennec Shand and a Gamorrean guard.

I’m always a sucker for stories about outnumbered heroes, bad guys with “hearts of gold,” and heroic last stands, and The Book of Boba Fett gave me all of those things. Whether it was Boba Fett sneaking into Jabba the Hutt’s palace to steal back his ship, learning to fight like a Tusken raider in the Dune Sea of Tatooine, or the gang coming together to fight off the forces arrayed against them, The Book of Boba Fett packed these exciting and often emotional punches in just the right way for the story to be incredibly enjoyable for me.

If I look at The Book of Boba Fett with a more critical eye, there are absolutely things that I would have changed or chosen not to include. I don’t think, for example, that the sequences with Luke Skywalker and Grogu were especially satisfying when I think about them more deeply. The Mandalorian Season 2 spent basically its entire runtime getting Mandy and Grogu to attract Luke’s attention, and for Luke to then present Grogu with a binary choice – to go with Mandy or train as a Jedi – then to have that choice happen entirely off-screen, effectively rendering everything Mandy did in Season 2 pointless… it leaves a bit of a bad taste. It’s “The Rise of Skywalker problem” – where the next chapter in the story effectively undoes the big narrative moments from the chapter that preceded it.

Luke offered Grogu a choice, and he apparently came to his decision off-screen.

Also, as some fans far smarter than I am have already pointed out, it feels wrong for Luke Skywalker to offer Grogu such a choice to begin with. We don’t know how much time had passed since the events of The Mandalorian Season 2, but it could perhaps be a few weeks or a few months – a year at the very most. Grogu hadn’t spent much time there nor done much training, so for this choice to be presented to him while he’s at such a young age – and for Luke, whose entire arc in Return of the Jedi had centred around his own attachment to his father while simultaneously being a Jedi Knight – to be the one forcing this choice onto Grogu, are likewise things that feel wrong.

It feels like this side of the story was contrived in such a way as to get Grogu to leave Luke’s Jedi Academy – perhaps so he can have a role in The Mandalorian Season 3, perhaps because there’s something else going on with his character that we don’t yet know, or perhaps because the creators and producers realised that, as things stand, Grogu would almost certainly end up among Kylo Ren’s victims when he betrays Luke – something we saw in the sequel trilogy. As I remarked in my review of The Mandalorian Season 2, this makes Grogu’s whole story feel bittersweet, and given the cute critter’s huge popularity with Star Wars fans and a wider audience in general, maybe this decision was made to save him from that fate.

Was an executive decision taken to “save” Grogu from the fate of Luke’s other students?

When I took a look at The Mandalorian Season 2, I also said that Luke Skywalker felt like a story crutch for a series – and a franchise – that was too reliant on its own past and on nostalgia plays. The same could apply to The Book of Boba Fett, too. In a series that was already throwing Star Wars’ greatest hits at viewers, the inclusion of Luke Skywalker was pure fan-service. I think it worked better here having been set up in Season 2 of The Mandalorian, and thus didn’t come from nowhere in quite the same way, but I would question whether or not it was strictly necessary to have these sequences in a show that was already so intent on looking backwards.

As I watched the first couple of episodes of The Book of Boba Fett, I thought to myself that, although the reintroduction of this seemingly-dead character was itself a huge “hail Mary” nostalgia throw, at least the series would finally take Star Wars away from the Force, the Jedi, and the Skywalker family. It ultimately failed to do that, bringing all of those elements back into play, and again I just feel that this is indicative of a franchise that doesn’t really know what to do or how to act without the crutch of those safe, comfortable, familiar elements. Star Wars teases viewers with a massive galaxy to explore, but every film and series so far has returned in one way or another to the same handful of characters and the same absolutely minuscule slice of that vast, tantalising setting. I would love for Star Wars to try something genuinely new and different one day, and while I didn’t really expect that from a series based around Boba Fett, it would still have been a bold decision to cut Luke Skywalker and Grogu from the story altogether, and leave the Force behind.

The Book of Boba Fett relied very heavily on elements and characters from past iterations of Star Wars.

The Book of Boba Fett, perhaps because it was relatively short at a mere seven episodes, wasn’t great at communicating the passage of time. This is also a complaint I’d raised about The Mandalorian, specifically in its first season, but in this case it was made worse by the fact that we were seeing different parts of Boba’s story that seemingly took place months or years apart. From his escape from the Sarlacc and capture by the Tuskens to his acceptance of Tusken culture and raid on the train to his meeting with Fennec Shand, their raid on Jabba’s palace, and then Boba laying claim to the throne… it wasn’t at all clear how much time had passed from one sequence to the next.

At one point Boba mentioned something about “years,” but that felt like little more than clumsy exposition – and didn’t even make clear how long it had been between some of the scenes we saw. Presumably his escape from the Sarlacc and his initial capture by the Tuskens took place within hours of Return of the Jedi – but the rest of it was decidedly muddled and unclear.

It wasn’t at all clear how long Boba spent with the Tuskens… or how much time had passed between flashback sequences and the show’s present day.

So let’s talk about Boba Fett’s survival, because this was one point I was really interested in prior to the series. For almost forty years it seemed as though Boba Fett was dead. Maybe some works in the old Expanded Universe found fan-fiction nonsense that brought him back, but canonically speaking, Boba Fett was dead. That’s how I interpreted the very unambiguous scene of him falling into the Sarlacc’s maw in Return of the Jedi when I first saw it in the early ’90s – and on every subsequent viewing, come to that. Overcoming that hurdle was something that The Book of Boba Fett had to at least try to do.

In the end, the answer was pretty lame, the sequence raced through pretty quickly, and the answer to this almost-forty-year-old puzzle hand-waved away. Boba Fett survived by essentially shooting and exploding his way out, then collapsed on the sand near the Sarlacc pit. His armour was stolen by scavenging Jawas, and Boba was later rescued – or captured – by Tuskens. It was all over pretty quickly, and while I don’t necessarily feel there’s much to dispute in terms of the basic mechanics of his escape from the Sarlacc – he still had his armour and most of his weapons and explosives as he fell, after all – it was just a bit rushed. It felt like The Book of Boba Fett was trying to brush the details of his survival under the rug so it could race ahead to tell other stories.

Boba Fett’s escape from the Sarlacc was quite rushed.

In a series that generally got the feel and tone right, there were a couple of odd choices. The Twi’lek character played by comedian David Pasquesi largely felt out-of-place; an overtly comedic character in what was, for the most part, a series that didn’t seem to be trying too hard to be funny. The biker gang that Boba Fett recruited to his cause were perhaps the oddest-looking group, visually speaking, and their speeder bikes definitely looked out-of-place, being far too bright and colourful in a setting that was otherwise comprised of tans, browns, and other desert tones.

Putting these two together created what was perhaps the worst sequence in the entire series: a slow-speed comedy car chase that felt like it had been lifted out of a Disney Channel movie aimed at a pre-teen audience. Tonally speaking it was just wrong for The Book of Boba Fett, it dragged on far too long, and ultimately added nothing of substance to the show.

The Book of Boba Fett did not need a comedy car chase sequence.

But really, all of those points are glorified nitpicks, and didn’t really detract too much from what was a fun romp. Though there were things I would’ve changed or chosen not to include, taken as a whole package The Book of Boba Fett worked far better than I would have imagined. If you’d told me at the start that the climax of the series would’ve been Boba riding on a Rancor monster fighting alongside Mandy, a Wookie, and Baby Yoda I might not have even bothered to tune in… but the way it got to that point, and even the climactic fight itself, were just plain fun.

Visually, The Book of Boba Fett looked amazing. The CGI work used to create Luke Skywalker was so convincing on my 4K television that I honestly thought I was looking at a real person at first. The Star Wars franchise – and, to be fair, Disney in general – is setting an incredibly high standard for other streaming shows in terms of visuals and special effects, and I hope this high standard of competition will see others raise their game. I’m looking at you, Star Trek – at the very least it would be nice to start getting Star Trek episodes in 4K HDR!

Boba Fett without his trademark helmet.

So I think that’s about all I have to say about The Book of Boba Fett. It was a technically polished series with a combination of great practical and digital effects that made it look absolutely fantastic. And it’s set a very high bar for digital character work that other shows – and even films – will struggle to match. Acting performances were fantastic across the board, with everyone giving it their all. The show also had a great, somewhat understated musical score that was pitch-perfect.

Above all, though, The Book of Boba Fett was far more fun than I could have possibly expected. Somehow, a combination of individual elements that seemed on the surface to be weak or otherwise uninspiring came together to build a far better and more entertaining series than should have been possible! I had a hugely enjoyable time with The Book of Boba Fett, and it even succeeded at getting me interested – and, dare I say, even a little excited – for Season 3 of The Mandalorian, which is rumoured to be coming before the end of the year.

After feeling underwhelmed or even disappointed with some recent Star Wars projects, it was nice to be able to kick back and enjoy an exciting, action-packed romp across Tatooine with Boba Fett and his motley crew. At time of writing, a second season of the show hasn’t been confirmed – but it seems almost unfathomable to me that there won’t be more adventures with Boba and Fennec Shand.

The Book of Boba Fett is available to stream now on Disney+. 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.

Grand Theft Auto 6: a wishlist

If you haven’t heard that Rockstar just confirmed the worst-kept secret in gaming – that Grand Theft Auto 6 is in production – then you must be living under a rock! The news has been everywhere in recent days, and even made it into mainstream (i.e. non-gaming) news outlets here in the UK. It makes sense: Grand Theft Auto V is one of the best-selling entertainment products of all time, eclipsing films, television shows, and even entire franchises. What comes next is going to be of interest to a great many people.

It’s been eight months since I last looked ahead to Grand Theft Auto 6, and with the game’s official announcement doing the rounds I thought it could be fun to put together a short wishlist of things I’d personally like to see the next entry include. It goes without saying that all of this is subjective – I don’t have any “insider information” and I’m not trying to claim that the next Grand Theft Auto game needs to have any or all of these features. It’s just a bit of fun from a sometime fan of the series – and given that we know next to nothing about what the game will actually look like, why not throw some ideas of my own out there?

So without any further ado, let’s jump into my Grand Theft Auto 6 wishlist!

Number 1:
A proper single-player campaign.

A single-player mode is an essential part of the Grand Theft Auto experience.

At this stage there’s been no indication that Grand Theft Auto 6 will go all-in on its inevitable online mode… but I’m still wary. Grand Theft Auto V didn’t become the second-best-selling video game ever because of its single-player campaign (Minecraft is number one, in case you were wondering). It was the online mode that kept fans coming back – and crucially from Rockstar’s point of view, kept them spending money.

There has to be a temptation to skip the single-player campaign altogether, or else direct the vast majority of development time and resources into Grand Theft Auto 6′s online mode. I hope that some senior folks at Rockstar are pushing back on that!

Grand Theft Auto V’s online mode has been crucial to the game’s success.

That said, it’s worth pointing out that less than one-third of players have actually completed the Grand Theft Auto V single-player campaign. Rockstar’s other big release, Red Dead Redemption II, has comparable figures for completion too, so it seems that a significant number of players either don’t make it to the end of the campaign or, more likely, only turn up for the multiplayer online mode.

Despite that, Grand Theft Auto 6 would lose something significant without a decent, long single-player campaign – and I don’t just say that because it’s the part of the game that I’m most interested in! There’s still a lot of people interested in single-player titles, and Rockstar has demonstrated time and again its ability to write truly excellent stories. Moreover, a lot of people would want to play the game in single-player mode to learn the ropes before jumping into multiplayer, or just for fun in between multiplayer sessions. There are plenty of reasons to make sure that Grand Theft Auto 6 retains a solid single-player mode.

Number 2:
A customisable protagonist.

Despite its faults, Cyberpunk 2077 has a great character creator.

There’s been a lot of speculation about whether Grand Theft Auto 6 will include – shock horror – a girl as one of its protagonists. Cue the usual outrage from sexist morons and Twitter trolls. But I’d like to see the game go further than that, and use the character creators from games like Cyberpunk 2077 and the Saints Row series as inspiration, allowing players to craft their own, fully customisable protagonist.

A customisable character could be male, female, non-binary, trans, or anything else players want them to be. With a relatively small amount of effort, it should be possible to craft a story that a custom character can slot into, and I’ve long felt that a custom character can make a game feel more immersive. Rockstar has allowed a limited version of this in Grand Theft Auto Online – but I’m thinking bigger!

I’m thinking of a massively expanded version of the current Grand Theft Auto Online character creator!

With Rockstar’s resources, the company could build the best character creator that any video game has ever seen. Grand Theft Auto 6 could set a high bar and become the new gold standard that other games would be compared to. Maybe I’m getting over-excited, but I think there’s a lot of potential for a truly outstanding character creator considering the amount of money that Rockstar has at its disposal.

The Grand Theft Auto series is known for its sense of humour and sarcastic style, and that could absolutely carry over to the character creator too! Making incredibly silly-looking characters, or replicating the appearances of famous figures could all become part of the fun. And it would be an easy way for Rockstar to include trans and non-binary people – allowing us to feel represented in the new game.

Number 3:
Multiple protagonists.

The trio of playable characters in Grand Theft Auto V.

If a custom character creator is off the table for whatever reason, then I hope that Grand Theft Auto 6 won’t abandon the multiple protagonist approach that worked so well in its predecessor. Being able to unlock different characters, then switch between them on the fly, added a fun element to gameplay, and with each character being different and coming from a different place, there was scope to tell three very different stories that ultimately came together.

My preference would be for a custom character, I think. If handled properly, and if the character creator was well-built with plenty of choices and options, that would be the best way for Grand Theft Auto 6 to truly represent as many different folks as possible. But a group of three or four main characters, including at least one female protagonist, would be a good option too.

How about we play as a female character for once?

That being said, I can already predict that there will be a backlash from so-called “fans” in the gamer community if Rockstar shows off a female protagonist or a group of protagonists that include people from different backgrounds. “Grand Theft Auto 6 is going woke” will be the familiar, disappointing cry from too many people.

A custom character would get around that, in large part, and that’s another good point in its favour. But there’s still something appealing about having multiple playable characters, as I feel that was a feature that worked well but went underappreciated in Grand Theft Auto V.

Number 4:
Way more clothes and other customisation options.

Grand Theft Auto 6 can do better than this!

Continuing a trend from the entries above, I’d love to see Grand Theft Auto 6 offer players a lot more outfits, weapon mods, vehicle designs, and the like. Red Dead Redemption II offered a pretty wide range of outfits and some gun modification options, but I’d like to see this expanded in a big way for Grand Theft Auto 6. Again, Rockstar can look to games like Cyberpunk 2077 for inspiration – despite the myriad problems with that title, there’s no denying it has a lot of customisation options!

Part of the fun of an expansive open-world title like Grand Theft Auto 6 is getting lost in the world and feeling like you’re participating, living out an alternate life. How your character appears is a big part of that, and being able to change up the protagonist’s style – going from street to preppy to old-fashioned and beyond – is a big part of that. Making my character look the way I want them to look is all part of the immersion.

Customising a rifle in Red Dead Redemption II.

This can extend to vehicles and weapons, too. Red Dead Redemption II allowed for a degree of cosmetic weapon customisation, and that was great, but that title was set in the 19th Century and thus the cosmetic options were somewhat limited! But for a game with a more modern setting, it should be possible to have cars and guns in every shade of the rainbow for starters, and with plenty of designs, logos, and more to add to them and fully customise them. Forza Horizon 5 offers a pretty extensive vehicle customiser, and it never ceases to amaze me to see the creative designs that folks in that game have come up with!

So let’s think about adding plenty of different clothes in a variety of styles and from a variety of fashion trends! Depending on when and where the game is set there could be limitations on this, and that would be understandable, but I’d still like to see an extensive range of clothes, vehicle designs, weapon skins, and the like so I can really get stuck in and make my character stand out!

Number 5:
A brand-new setting.

Grand Theft Auto Reykjavik, anyone?

I’m kicking myself for not taking a screenshot because now I can’t find it, but I saw a poll on social media within the last couple of days asking participants where they’d like Grand Theft Auto 6 to be set. Vice City – the franchise’s Miami analogue – put in a creditable showing, but by far the most-requested setting was “somewhere new.”

Grand Theft Auto V was successful by reimagining Los Santos – a city that had first appeared in Grand Theft Auto: San Andreas in 2005 – but I’d like to see the next entry in the series pick a brand-new setting to explore instead of returning to somewhere that fans of the series have already been. The franchise should also avoid, in my opinion, settings that would be too similar to its recent Los Angeles stand-in, so I’d recommend avoiding coastal, tropical cities.

I wouldn’t take Grand Theft Auto back to Vice City this time if it was up to me!

I also believe that the Grand Theft Auto series works best in an American setting. The series is geared up for America, and trying to transpose it and set a new game in Asia or Europe would, in my view anyway, take away something significant that defines what Grand Theft Auto is. I know there was that London spin-off in the days when Grand Theft Auto still used a top-down perspective, but every other title has been set in the United States.

There are several really interesting choices for cities that a new game could be based on. A Washington DC analogue could look at things like power and corruption, or the game could hop over to Chicago for a story about the mob. A city based on Detroit could look at the decline of America as a manufacturing powerhouse and what effects that has had. Or Grand Theft Auto 6 could show us an updated, modern-day look at Red Dead Redemption II’s Saint Denis – a stand-in for New Orleans! Those are just a few interesting ideas, and it could be really neat to see any show up in a future game.

Number 6:
A different time period.

Back to the eighties or nineties?

Some of the best-loved Grand Theft Auto games didn’t use a modern-day setting. Vice City was set in the 1980s and San Andreas was set in the 1990s, and both games are well-remembered – despite being soiled by a recent sub-par remaster. In addition, Red Dead Redemption II took Rockstar’s signature open-world concept all the way back to the 19th Century and proved it can still work! So there’s a lot of potential, in my view, for the next Grand Theft Auto game to step out of the modern day.

There’s a lot of eighties nostalgia floating around at the moment, with films like Ready Player One and TV shows like Stranger Things cashing in on that, so that’s one possibility. It would also be interesting to step back into the 1990s and re-live the turn of the millennium all over again! There’s a lot of potential in taking advantage of a distinct time period or moment in time, and Rockstar has already demonstrated an ability to do so with past titles.

How about the seventies?

Grand Theft Auto 6 will have a difficult task to distinguish itself from its phenomenally-popular predecessor, and one way to immediately change the look and feel of the game and make it distinct would be to set it in a completely different decade. Combined with a setting that would take players away from the palm trees and beaches of California (sorry, San Andreas) I think an earlier time period could be an exceptionally interesting way to draw a line under Grand Theft Auto V and demonstrate that the new game has something very different to offer.

Somehow, Grand Theft Auto 6 has to do things that its immediate predecessor couldn’t offer. That realistically means that the new game needs either a brand-new setting or a time period that the series hasn’t visited in a while. Ideally, Grand Theft Auto 6 will offer both.

Number 7:
Cameos are fine, but let’s have new characters and a new story.

Claude from Grand Theft Auto 3 (right) had a cameo in San Andreas.

There’s going to be a huge temptation for Grand Theft Auto 6 to be an overblown sequel, stuffed full of callbacks, references, and nostalgia plays for Grand Theft Auto V – and other entries in the series. Depending on when and where the game is set, this could mean the return of familiar characters.

Cameos and the occasional reference are okay – and good fan-service in some respects – but I hope that the new game’s story will be able to stand on its own two feet. Grand Theft Auto isn’t a series that needs this kind of backwards-looking nostalgia, and every game thus far has been a distinct, standalone title. Because of the success of Grand Theft Auto V, though, there may well be some senior figures at Rockstar who aren’t prepared to fully let go.

Number 8:
Visual and gameplay improvements.

There have been some visually amazing games in recent years.
(Pictured: Kena: Bridge of Spirits)

Grand Theft Auto V is now almost nine years old, and was originally released on the Xbox 360 and PlayStation 3. Updates, patches, and new versions have certainly kept things fresh, but the game is now showing its age. The Xbox 360 and PlayStation 3 were decent consoles, capable of producing some excellent games, but with the technological improvement of two full console generations, there’s scope for Grand Theft Auto 6 to be bigger, prettier, and a better all-round experience.

Realistically this means that Grand Theft Auto 6 has to be an Xbox Series S/X and PlayStation 5 exclusive – trying to make a game that could also work on last generation’s consoles might be tempting, especially given the perennial problems of shortages and stock availability that have plagued the new consoles since launch. But going down this road will be a massive mistake – as Cyberpunk 2077 developers CD Projekt Red found to their cost.

Cyberpunk 2077 looks good (when it works).

Cyberpunk 2077 was crippled at launch by a catastrophic litany of bugs and glitches on PlayStation 4 and Xbox One specifically, and a big part of the reason why that happened is because the game is right at the technological limit of what those machines are capable of. If Grand Theft Auto 6 is going to be the game that fans are expecting, it needs a world at least as big and dense as Cyberpunk 2077′s. That means it needs to be built from the ground up with new hardware in mind.

Part of the appeal of Grand Theft Auto games is how silly they can be – so I don’t necessarily think that Rockstar needs to implement a realistic physics system or anything like that. But there are some areas where the standard open-world gameplay could be improved, and in addition to next-gen graphics it would be great if the game could feel like something new as well.

Number 9:
Proper difficulty and saving options.

Examples of difficulty settings present in Mass Effect: Legendary Edition.

Most Rockstar games don’t offer proper difficulty options. This was a complaint I had with Red Dead Redemption II as well as Grand Theft Auto V – and as I’ve said on several occasions, in 2022 there’s no excuse for not providing players with the option to change the game’s difficulty. This is such an incredibly basic feature that has been part of so many games going back decades that it amazes me that Rockstar didn’t bother with it.

Red Dead Redemption II had a feature where, after failing a specific part of a mission 3 times, it would be possible to skip ahead to the next checkpoint – and this is the only reason I was able to make it to the end of the story! But Grand Theft Auto 6 needs to do better. Difficulty settings are an accessibility feature, allowing players with disabilities and players of different skill levels access to a game. Rockstar needs to realise this and act accordingly.

Games that are too difficult aren’t fun for many players.

Also, if I save a game in a specific location, I feel like my character should still be there when I load up my save file later on. I can’t count the number of times in Red Dead Redemption II where I loaded up my save and then had to figure out where I was, where my horse was, and where my next objective was, all because the game seems to pick arbitrary locations for the player character to be when loading up a save file.

Grand Theft Auto V had a “quicksave” option which got around this – but past games in the series have relied on players returning to a safe-house or other specific location in order to save progress and load up save files. This wastes time and is an inconvenience – one that modern game design allows practically all titles to get around. So a decent save/load option, please!

Number 10:
A simultaneous PC release.

Don’t leave out PC gamers!

Grand Theft Auto V was released on Xbox 360 and PlayStation 3 in 2013, but didn’t come to PC for almost eighteen months. Red Dead Redemption II likewise didn’t arrive on PC for more than a year after its debut on Xbox One and PlayStation 4. But with PC gaming having grown ever more in just the last few years, it would be a mistake to leave PC players behind.

With the game having taken so long to develop already, what’s an extra few months if it means a PC version can be released alongside consoles? It would make so much sense to bring the game to all three platforms simultaneously, making for a bigger and bolder launch than either Grand Theft Auto V or Red Dead Redemption II enjoyed. And yes, I admit that this one is pure bias – my primary gaming platform these days is a PC!

So that’s it.

Remember when Grand Theft Auto looked like this?

That’s as close as I can get to describing my “perfect” Grand Theft Auto 6! It took me well over two years from Red Dead Redemption II’s PC launch to finally get around to playing it, so don’t expect an instant review here on the website the second the new game is out! But I daresay I will pick up a copy – provided it has a single-player mode, at least – and share my thoughts and impressions.

Rockstar has previously announced games fairly close to their expected release window, so I wouldn’t be stunned to learn Grand Theft Auto 6 is currently gunning for a release before Christmas – but take that with a grain of salt. There’s been online chatter and rumours suggesting late 2023 or early 2024 as possible release windows, so I guess we’ll have to watch and wait for more information.

I’m curious to see how Rockstar will follow up one of the biggest games of all time. Grand Theft Auto V has been a juggernaut, clocking up sales for almost nine years and hardly ever dropping out of the top-ten or top-twenty bestsellers and most-played games lists. Rockstar will be hoping that Grand Theft Auto 6 can recapture the magic this time around, and will bring its significant financial resources to bear to ensure it happens. As for me, I’ll be happy if the game is fun – and if it meets some or all of the entries on my wishlist, I daresay it will be!

Grand Theft Auto 6 is currently in development and is the copyright of Rockstar Games and/or Take-Two Interactive. Some screenshots and promotional art courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Keeping the Star Trek fan community a welcoming place

I didn’t realise it until a few weeks ago, but I’ve officially been a Trekkie for more than thirty years. The earliest episode of The Next Generation that I can solidly remember watching was Season 2’s The Royale, which aired here in the UK in June 1991. Although I’m fairly sure that The Royale isn’t the first ever Star Trek episode that I saw, it’s the earliest one that I can remember and thus I can officially date my entry into the fandom to more than three decades ago.

I quickly became enamoured with The Next Generation, tuning in to watch every new episode as they aired, and even renting copies of some of the episodes on video as and when I could find them. In the rural part of the UK where I grew up, there weren’t many other fans of science fiction and fantasy, so being a Trekkie could be lonely. This was years before I got access to the internet, too, so finding fellow Trekkies wasn’t easy.

The Royale is the first episode of Star Trek that I can definitely remember watching.

That being said, there was a sci-fi magazine that I subscribed to for a time, and I think it must’ve been in one of the issues that I found out about a Star Trek fan group that was organising a meet-up. This would’ve been in late 1994 or early 1995, around the time Generations was in cinemas. Because my mother thought I was too young to travel more than two hours by train on my own, she accompanied me – much to my horror – but promised me she’d find other things to do in the city where the meet-up was taking place.

I was nervous as I got ready to attend the meet-up. I’d seen as much of The Next Generation as had been broadcast on terrestrial TV in the UK, and a few other episodes on video, but I’d only seen a handful of episodes of The Original Series and just one of the films (The Search for Spock, weirdly, was my first Star Trek film) so I wasn’t really sure how older fans would react. I felt like a bit of an imposter at first; a newbie barging into an established group.

It took two hours to travel by rail from where I lived to where the meet-up was being held.

But all of the Trekkies I met were incredibly welcoming. At the meet-up I was the youngest person there by a considerable margin, but everyone was very nice to me and made me feel part of the group. Nobody tried to tell me that I wasn’t a “true fan” of Star Trek because of my limited knowledge of The Original Series, and I had a great time talking to other fans for the first time, seeing different collections of merchandise – some imported from America – and hearing a few people share their experiences of meeting William Shatner or other members of the cast. I left the event having had a great time and feeling excited to continue and expand my fandom. Someone had recommended that I watch The Wrath of Khan, so shortly after I was able to rent the film and see it for myself.

I went back to several meet-ups with this group in the mid/late-1990s, but as I got ready to go to university and started getting online, I sort of drifted away. It was never an official fan club or anything as far as I recall, just a group of Trekkies who’d get together to trade merch and chat once in a while.

Kirk in The Wrath of Khan.

Those early fan meet-ups meant a lot to me as I began my journey as a Star Trek fan. The people I talked to were all very welcoming, and they seemed pleased that a younger person was interested enough in Star Trek to associate with their group. I think they recognised, even back then, that a franchise like Star Trek needs new fans – because new fans are the lifeblood of any fan community. Making sure that community is a welcoming place, however people come by it, is incredibly important.

I was quite sensitive as a kid, and if I’d been met with a wall of negativity at that first meet-up, I don’t think I’d have ever gone back. It would almost certainly have put me off Star Trek entirely, as I’d have associated the franchise with unkind, unwelcoming people. I might have never gone back to watch The Original Series, and perhaps I’d have switched off and skipped Deep Space Nine and Voyager when they came along, too. The words people use matter, and how we treat new fans or people on the cusp of joining the fan community is incredibly important.

It’s so important to be kind to everyone in the fan community – especially newbies.

Meet-ups like the ones I remember still happen within the fan community, but nowadays most people’s first contact with other Trekkies is via the internet and social media. In a way, I’m jealous of that! As a kid I would have loved nothing more than to have found a ready-made Trekkie community that I could share my love of the franchise with any time I wanted to, but I first became a Trekkie years before I got online! I grew up in a rural area, and there just weren’t any other Trekkies in my immediate circle of friends or neighbours – at least none that I knew of at the time.

But social media and the internet have brought with them trolls and unkind people who seem to delight in crapping all over anything that someone else likes. That’s unfortunately true within the Star Trek fan community as well, and there are enough people who are unkind and unpleasant to others online that I fear for anyone just getting started with Star Trek. The community that they encounter on social media is, unfortunately, plagued by a vocal minority of people like that.

The online Trekkie community can be an unkind, even hateful place.

I’m not the most active person on social media. But even I’ve seen the way that some people behave, and how the relative anonymity of the internet and social media seems to amplify some people’s absolute worst qualities and tendencies. Even conversations that start off politely, or questions asked in good faith and with no bad intentions at all, can become toxic incredibly quickly.

I believe that it’s up to all of us to be considerate and thoughtful in our interactions within the fan community. New shows like Discovery and Prodigy are hopefully going to continue to bring on board hordes of brand-new Trekkies, and all of us have a responsibility to ensure that the fan community these folks discover is a kind, welcoming place. Trying to act like gatekeepers by telling new Trekkies that their opinions are invalid because they haven’t seen a particular film or episode, or that the show they like isn’t “real Star Trek,” is going to upset people and make the Star Trek fan community look like an unkind, selfish, closed-off place.

Prodigy is hopefully going to bring lots of new fans into the Star Trek fan community for the first time.

New fans are, as I said earlier, the lifeblood of any fandom. If Star Trek were to remain the sole preserve of fans from the ’60s or the ’90s it wouldn’t last very long at all – and it wouldn’t deserve to. The fan community needs new Trekkies joining in and sharing their excitement for the franchise in order to grow and remain relevant. If we try to shut those people out or tell them they’re only “allowed” to join in once they’ve met a particular threshold then the fan community will stagnate, online fan groups will become unpleasant places, and the resultant decline in online chatter will harm Star Trek and could easily lead to a decline in viewership in general.

There are many fans for whom Star Trek has always been a complete product. There were a lot of arguments in the ’80s and ’90s about how The Next Generation was taking over from The Original Series, whether Deep Space Nine was too dark in tone, and whether the Star Trek franchise needed a prequel – to name just three examples. Star Trek has always been developing and evolving, episode by episode and season by season. But for fans who missed those conversations and didn’t see the slow progress that the franchise made over the span of decades, Star Trek has always existed as a complete product: a DVD box set or a full series on a streaming platform. It seems to me that it’s those folks who are more likely to act as gatekeepers and try to keep new fans who don’t share their opinions out of the fan community.

Star Trek hasn’t always been a complete DVD box set. It took decades to get to that point.

Star Trek has always meant different things to different people. And consequently, fans have always had preferences within the Star Trek franchise about which episodes, films, series, and even characters that they prefer. If someone doesn’t like one part of Star Trek, that’s okay. It doesn’t make them “less” of a Trekkie. And if someone’s new to the franchise and isn’t up to speed on every film or episode, that doesn’t make them “less” of a fan either.

The people who are trying to play gatekeeper need to stop. It doesn’t do anyone any good to try to exclude people – especially new fans – from the Star Trek fan community. Although I’m a fan of Star Trek in its older and newer incarnations, I understand that there are people who don’t like some or all of what Star Trek is currently doing. I was even in a similar position myself once upon a time, as I wasn’t particularly keen on Enterprise when it was announced and only tuned in sporadically during its original broadcast run. But in the early 2000s I would have never dreamed of telling anyone that they weren’t a “real fan” of Star Trek because they liked Enterprise, or because Enterprise was the first Star Trek show they’d ever seen.

I freely admit that Enterprise didn’t seem like my thing when it first premiered. But I was wrong about that.

The message I have is a simple one, at the end of the day: we all have a responsibility to keep the Star Trek fan community a kind, friendly, and welcoming place.

Fans can be passionate, and the desire to talk about the things we like – and dislike – is a powerful one. Making sure that the Star Trek fan community feels welcoming to newcomers doesn’t mean whitewashing Star Trek and never sharing a critical opinion, but it does mean that criticism needs to be carefully considered and offered in as constructive a manner as possible. ViacomCBS has definitely made mistakes with the Star Trek franchise in recent years, for example, but my criticisms of the corporation or my negative reviews of individual episodes here on the website have never strayed into attacking fellow fans. If you like an episode that I don’t, that’s okay! And I think that’s the attitude that we all need to try to adopt going forward.

A series like Prodigy has the potential to open up the Star Trek fan community, and I wouldn’t be surprised to see an influx of new, younger fans in the months and years ahead. Those of us who’ve been Trekkies for a long time should try, for their sake, to keep conversations and debates civil in tone and to ensure that the fan community is a kind, friendly, and welcoming place. Shutting down or tuning out as much of the toxicity as possible is a big part of that.

Let’s try to make sure fans of Prodigy feel welcome as they get started in the Star Trek fan community.

I’ve lost count of the number of negative, toxic, and even bigoted and hateful messages and posts that I’ve seen in recent years. Practically all of them appeared not because they were sent directly to me, nor because I sought out those groups or follow individuals who hold those views, but because they were amplified on social media by other folks – often with good intentions – who chose to interact or engage. There’s an expression from the early days of the internet that I think is relevant in a lot of cases: “don’t feed the trolls.”

A lot of the anti-Trek content spewed onto social media by people like that is done for attention, and by engaging with it in a big way it gets amplified, giving the attention-seeking trolls exactly what they want. There are some instances where calling someone out or shutting down someone espousing hurtful, bigoted views is going to be important – but in many cases there’s no need to engage with people who are throwing out hate and toxicity just for the sake of it. Because of the way social media works, with algorithms promoting content that gets the most engagements, doing so often ends up drawing more and more attention to something that really should just be ignored. Most social media platforms offer users the ability to block individuals, groups, or even whole words and phrases – so we should use those tools when necessary.

Don’t feed the trolls…

So I think that’s about all I have to say. I was prompted to write this piece after seeing a lot of chatter on social media about the state of the Star Trek fan community, and with Prodigy now airing and potentially bringing younger fans on board in large numbers, I wanted to give my two cents on why it’s important to make sure the fan community is as welcoming and friendly as possible.

Ever since I attended that first meet-up in 1994 or 1995, I’ve remembered the kindness that I was shown and how I was made to feel welcome as a new fan. I try to keep that spirit going in all of my engagements with the Star Trek fan community, and though there are episodes I dislike and things on the corporate side that I will continue to criticise, in my very limited way I try to make sure that I’m contributing positively to the overall discourse surrounding Star Trek. There’s room for constructive criticism and there’s room for differences of opinion – but there’s no room for toxicity, hate, and bigotry. It’s the responsibility of all of us to do what we can to keep the Star Trek fan community a welcoming place.

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.

Paramount+ needs a major attitude adjustment

In the course of researching Star Trek: Prodigy for my review of the first part of Season 1, I learned something very odd. The first half of the season was itself cleaved in two, with a few episodes being broadcast, followed by a month-long break, before a second batch were broadcast leading up to the mid-season finale. This appalling scheduling – and on a streaming platform, no less – already made no sense and arguably damaged Prodigy, making it harder for the series to gain traction and retain viewers, and that’s something I addressed in my review. But one thing that’s even worse is that for Paramount+ subscribers outside of the United States – such as in Australia – the second batch of episodes weren’t broadcast at all.

When ViacomCBS announced its intention to take Discovery Season 4 away from fans, the same thing happened. Although Paramount+ existed in Latin America, Australia, and Scandinavia, those regions weren’t going to get Discovery Season 4 at the same time as the American version of Paramount+, effectively meaning that Trekkies in those regions had paid for nothing.

A rather barebones, unapologetic Twitter post from Paramount+ Australia.

We’ve talked on several occasions about ViacomCBS prioritising American Trekkies and viewers over those of us in the rest of the world, but I had hoped that the rollout of Paramount+ internationally would finally bring an end to this disgusting, outdated attitude. Although the pace of the streaming service’s rollout would make a snail covered in molasses riding a sloth up a glacier look fast by comparison, I’m still halfway hopeful that it’ll arrive here in the UK before the end of 2022 – and if I dare to dream, I’d hope that Paramount+ will be available worldwide… one day.

But even if ViacomCBS magically finds competent leadership in the months ahead, meaning Paramount+ will indeed be available here in the UK in time for, say, the debut of Strange New Worlds, it now seems as though the corporation can’t offer fans a guarantee that subscribing to Paramount+ will actually mean we’ll be able to watch any new Star Trek. So… what’s the point of Paramount+, then, and why should I bother subscribing at all?

Hey Paramount+, I fixed your slogan.

A couple of weeks ago, I wrote that there are some big questions that ViacomCBS and the team behind Paramount+ need to answer as soon as possible regarding the availability of upcoming Star Trek productions. But we can add into the mix the very real and very serious question of whether any non-American Paramount+ subscribers will be able to watch any new or upcoming Star Trek shows at the same time as viewers in the United States. And then we’ll have to decide for ourselves whether we can trust the answer given the corporation’s poor track record going back several years at least.

Last year, when Paramount+ debuted in the United States and began its painfully slow international rollout, I was optimistic and even dare I say looking forward to the streaming platform’s arrival here in the UK. Being able to subscribe to Star Trek’s home, its native platform, felt like a good opportunity, and as I’ve said on several occasions: I want to offer ViacomCBS and the Star Trek franchise my support and financial backing in whatever way I can.

ViacomCBS is the corporation in charge of Paramount+.

But now, having seen just how poorly ViacomCBS has been treating Paramount+ subscribers outside of the United States, the idea of signing up for Paramount+ when it eventually arrives in the UK is getting harder and harder to justify. That’s before we get into the technical issues that plague the platform: in just the last couple of weeks there was an episode of Prodigy that wasn’t available, error messages about servers being “too busy” that seem to be trying to force subscribers to pay for even more expensive packages, and myriad other glitches and screw-ups that leave Paramount+ in the United States feeling like a poor quality product.

Given that viewers in the United States are ViacomCBS’ priority – which they clearly and demonstrably have been thus far – that hardly leaves me feeling optimistic about the kind of service I can expect if and when Paramount+ makes its way across the Atlantic. If Paramount+ were to repeat the Prodigy mistake or their initial Discovery Season 4 plans with Strange New Worlds, for example, then why should I – or any other Trekkie, come to that – bother to sign up? It brings us right back to the arguments about piracy: if ViacomCBS offers fans no lawful way to access their new shows, then piracy becomes the default option.

Will Trekkies in the rest of the world get to enjoy Strange New Worlds along with our American friends… or at all?

Paramount+ does not exist in a vacuum. The choice fans are presented with is not “pay for Paramount+ or don’t watch anything.” Piracy exists, and with a minimal amount of effort it’s possible for anyone with a phone, tablet, or computer to watch or download every new episode of Star Trek. To compete against that successfully, Paramount+ has to do what Netflix, Disney+, and others have done: the platform has to be a compelling, inexpensive alternative.

That means it needs to work, first and foremost. If fans log in and try to watch the latest episode but find that it won’t play or, as happened with Prodigy Season 1, Episode 9, it just isn’t there at all, then the entire argument behind paying to subscribe falls down. And if fans in the rest of the world can’t access something that fans in America can, how on earth does ViacomCBS expect to convince anyone that a Paramount+ subscription is a worthwhile investment?

Actual photo of the Paramount+ server.

We’re facing inflation and a significant rise in the cost of living. Speaking for myself, as someone on a fixed income, I’m already considering that it may not be possible to keep all of my current subscriptions, let alone add a new one into the mix. In order to overcome that, or to make sure folks are willing to consider Paramount+ a must-have subscription that they can’t live without, ViacomCBS has to demonstrate that the service is a solid investment. That means basic competence to begin with – fixing technical issues, ensuring that the service works properly, and that it has an intuitive, easy-to-use interface. But from the point of view of someone outside of the United States, it means ViacomCBS and Paramount+ need a major attitude adjustment. The corporation and its streaming platform need to demonstrate to Trekkies – and to viewers of all of their other programmes – that they aren’t just fixated on America; that those of us in the rest of the world matter to them too. If they can’t, I see no reason whatsoever why we should offer them our money.

This is an own goal; a self-inflicted wound from Paramount+ that the streaming service absolutely does not need to make. Take a look at the competition: Disney+ doesn’t gate off shows like The Mandalorian or films like Encanto – once they’re on Disney+ they’re on Disney+ for everyone, and while Disney+ has had its own international rollout issues, the service is streets ahead of Paramount+. Paramount+ has existed in its current form for almost a year – and going back to CBS All Access, for almost five years. There has been time for ViacomCBS to learn how to act and how to get this right – but they have consistently failed to do so.

Disney+ doesn’t gatekeep like this – and neither should Paramount+ if it wants to compete.

There’s no question in my mind that ViacomCBS is mismanaging Paramount+ in a serious, potentially fatal way. For a second-tier platform like this to survive the “streaming wars” it has to make an offer that viewers simply can’t refuse. It has to compete not only against the likes of Netflix and Amazon Prime, but also against the option of piracy, and it has to convince folks like me that I’ll actually get a decent service if I part with my money. So far, I don’t see Paramount+ as a compelling investment as someone living outside of the United States. And even if I were in America, given the other issues and faults with Paramount+ the best I can say is that it might be a service I pay for one month out of twelve to binge-watch a few shows before cancelling.

In short, bringing Paramount+ to the UK – and to countries and territories around the world – will only matter if the service brings with it all of the new and upcoming shows that American viewers can look forward to. If it doesn’t, or if those shows are going to be delayed by many months, then fans are pretty quickly going to see Paramount+ as a bad offer. If the corporation allows that mindset to take hold, it will be very difficult to change the narrative later on, so they need to get this right from day one. Paramount+ needs to bolt out of the gate with a strong, good value offer that can compete with Netflix, Amazon Prime, and Disney+. That means the current “America First” attitude of the ViacomCBS board has got to go.

Paramount+ is owned and operated by ViacomCBS and is available in the United States, Scandinavia, Latin America, and Australia. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Prodigy review – Season 1, Part 1

Spoiler Warning: Although this article doesn’t get into major plot spoilers, minor spoilers are still present for Star Trek: Prodigy Season 1, Episodes 1-10.

I wanted to cover Star Trek: Prodigy as extensively as I cover every other current Star Trek series. I had plans to write individual episode reviews, theories, and additional commentary and discussion pieces about some of the season’s themes and stories. But because ViacomCBS made the utterly inexplicable decision to withhold the series and prevent it from being broadcast outside of the United States, I felt that I couldn’t offer the show my support. As a result, this is the first time I’ve talked about Prodigy here on the website since the first season premiered.

Star Trek: Prodigy is a co-production between CBS Studios and Nickelodeon – both of which are subsidiaries of ViacomCBS. Nickelodeon is a kids’ television channel that is available in more than 70 countries and territories around the world, from here in the UK to South Africa, Pakistan, and beyond. It would have been incredibly easy and inexpensive for ViacomCBS to organise an international broadcast for Prodigy using their existing Nickelodeon channels – but they chose not to do so.

ViacomCBS owns and operates both CBS Studios and Nickelodeon.

Prodigy’s primary audience – children – are unlikely to be too upset by this, as they aren’t involved with online fan communities and the like. But for Trekkies and adult fans, there really is only one way to interpret this move from ViacomCBS, especially considering that the corporation has pulled other similar moves with Lower Decks Season 1 and Discovery Season 4 in just the last couple of years. This is ViacomCBS prioritising the United States over the rest of the world; taking an incredibly blinkered, shortsighted approach that has already done serious harm to the Star Trek franchise and several of its new and upcoming shows. Unfortunately, that means it isn’t possible to review or discuss Prodigy without taking a moment to acknowledge the truly awful way in which the show has been handled by Star Trek’s corporate overlords.

Another indication of how poorly ViacomCBS is managing the Star Trek franchise is evident in the lack of any toys or tie-in products for Star Trek: Prodigy. Toys and games aren’t just a way for a corporation to make extra money – they’re a way to keep younger fans engaged with the show and the wider Star Trek universe during the rest of the week when they aren’t watching the latest episode. It’s also a great way to introduce brand-new potential fans to Prodigy and to Star Trek; kids playing with their friends might be interested in the toys and check out the series from there. It might sound silly, but one of my earliest memories of Star Trek is actually a toy phaser that my uncle showed me when I was very young.

I’m pretty sure that this is the toy phaser I’m remembering.

I’ve seen on social media some very creative Trekkies who’ve hand-made plush toys of Murf or 3D printed combadges so that their kids would be able to have something Prodigy-related to play with. But these products should have been available officially in time for the show’s premiere. At the very least there should’ve been dolls or figures of the main characters, pretend-play toys of things like phasers and tricorders, and perhaps a playset of the USS Protostar. The fact that ViacomCBS has failed to create any merchandise whatsoever for Prodigy is yet another way in which the corporation is failing the Star Trek franchise.

Finally, we have the broadcast schedule for Star Trek: Prodigy. The series initially ran for a mere four episodes (including the feature-length premiere) between late October and mid-November, before taking a break. The second batch of episodes ran from January to the beginning of February, and the first season will now take an extended break. Broadcasting the series in this way is stupid. Just as fans were beginning to get into the show, it disappeared for more than a month, and its so-called “mid-season break” seems to be scheduled to last from now until at least this summer.

Star Trek: Prodigy streams on Paramount+… but only if you’re lucky enough to live in the United States. Even in Australia, subscribers to Paramount+ have only been able to see the first four episodes at time of writing.

Paramount+ is a streaming service. It’s a crappy, second-tier streaming service plagued by technical problems and a ridiculously slow international rollout, but it’s a streaming service nevertheless. There is no need for Prodigy to have to go off the air to free up space for Discovery or Picard – especially given that the shows are targeting completely different audiences. Screwing up the broadcast schedule so badly is enough to put off casual viewers, and these are exactly the kind of people that ViacomCBS needs to hook in and retain in order to make Star Trek and Paramount+ sustainable in the long-term. Decisions like these aren’t just an idiotic annoyance, they actively work against Prodigy’s success, making it much more difficult for the show to gain traction and appeal to the wider audience that both it and Paramount+ need.

So that’s the corporate state of play surrounding Prodigy’s first season, and as you can see there are major issues that ViacomCBS needs to begin addressing immediately to give the series a much-needed boost. An international broadcast would be a good start, but unfortunately that isn’t the only thing that the corporation has got wrong when it comes to Prodigy. The reason I bring up these points is not to crap all over Prodigy, but because I genuinely enjoy the series and want to see it succeed. Right now, ViacomCBS is shooting the series in the foot and harming its potential success through corporate mismanagement on a truly epic scale.

I genuinely want to see Prodigy succeed and bring a new generation of Trekkies into the fandom.

As Trekkies, I firmly believe that we need to be aware of these things. We also have to be willing to be vocal and call out ViacomCBS when the corporation makes mistakes. ViacomCBS has a marketing team of its own – it doesn’t need fans to blindly sing its praises and pretend that it can do no wrong. If anything, what ViacomCBS needs is more criticism and more Trekkies willing to hold its feet to the fire in order to ensure these kinds of mistakes are corrected and never repeated. Star Trek as a whole needs better leadership and better management on the corporate side, and the issues surrounding Prodigy Season 1 are just one example among many.

But Dennis, I hear you ask, aren’t you from the United Kingdom? How on earth were you able to watch Star Trek: Prodigy if it’s only available in the United States? Well, I’m glad you asked! Of course it’s incredibly easy for anyone with a computer to pirate Prodigy – and given that the series is unavailable by any other means, piracy is the only option for Trekkies outside of the United States. I reckon that gives all of us the absolute moral justification to pirate the series. But of course, piracy is against the law, so there’s no way you’d catch me doing something like that. Instead, I – a disabled person on a low income – moved to my second home in the United States (in the middle of a global pandemic) just so I could watch Prodigy. Don’t believe me? Look, here’s a photograph of my house:

This is absolutely my house. And it’s clearly in the United States. Which is definitely where I am.

So let’s shelve the corporate bullshit for now, because I promised you a review of Star Trek: Prodigy Season 1, Part 1 and so far all we’ve done is talk about ViacomCBS!

The great thing about Prodigy is that it manages to absolutely nail the feel of a Star Trek show. The best kids’ shows have always managed to find a way to offer interesting content for adults as well as children, and Prodigy is right up there with the absolute best of modern children’s television in that regard. I was curious, as an adult, whether Prodigy would really be all that interesting, or whether I’d find it too basic due to its target audience – but I’m happy to report that the show really does bring a lot to the table.

Prodigy is also a fantastic “first contact” – i.e. a great way for anyone brand-new to the Star Trek franchise to get acquainted with the universe and the way things work. This is something that could easily have been overlooked as the series brought in Captain Janeway and tried to fit a new story into a long-established setting, but I would absolutely recommend Prodigy for both children and adults who are looking to get started with the Star Trek franchise.

Prodigy will be a great “first contact” for new young Trekkies.

From the point of view of someone who’s been a Trekkie for over thirty years and who watched and enjoyed Voyager during its original run, I was surprised by just how much Prodigy felt like a homecoming. There was enough explanation of what was going on to gently guide newbies into Star Trek for the first time, as already mentioned, but beyond that I found a series steeped in the rich lore of the franchise.

The presence of Captain Janeway obviously connects the show to Voyager in a pretty big way, and there are other references to Voyager that longstanding fans will certainly be interested in. But Prodigy managed to walk a delicate line between being Star Trek: Voyager II and being its own thing, never straying too far into sequel territory that would be offputting for new fans, but never making Janeway and other references and callbacks to past iterations of Star Trek feel tokenistic; in practically every episode I felt Prodigy got this balance just right.

Look who’s back!

Modern iterations of Star Trek are lauded for their diverse casts, but in terms of alien races, Prodigy has them all beat! There are literally no humans to be seen – this version of Janeway is a hologram, something that pre-release marketing made clear! All of the other main characters are from a variety of alien races, some familiar and some brand-new.

There’s often talk within the Star Trek fan community about certain characters feeling under-utilised by their respective shows; such a disagreement even led to at least one departure from Star Trek, when Denise Crosby quit her role on The Next Generation. This was noticeable all the way back in The Original Series, too, where some characters could feel secondary in all but a handful of stories. Modern Star Trek has tended to focus on specific protagonists: Michael Burnham in Discovery and Picard in, well, Picard. Prodigy is different, and each of the main characters feel like they have an important role both on the ship and within the stories that the show has told so far.

Most of the main characters together on the Protostar’s bridge.

Murf attracted a lot of attention for their incredibly cute design, and I’ve definitely seen a strong positive reaction to Murf through my limited interactions with the Star Trek fan community. But for me, the breakout star of the first half of Season 1 has been Rok-Tahk – the youngest member of the crew, voiced by young actress Rylee Alazraqui. Another of the show’s more unusual character designs, Rok-Tahk has a striking, rock-like appearance and large stature that seems completely at odds with her quiet, sweet personality. Perhaps it’s this initial disconnect that first made the character so interesting, but Rok-Tahk had moments of bravery and significant character growth over those first ten episodes that really stood out to me.

Later seasons of Deep Space Nine and Season 3 of Enterprise in particular had introduced Star Trek to serialised storytelling years ago, but one of the defining things about the franchise since its return to the small screen in 2017 had been an embrace of fully serialised storytelling – for better or for worse, depending on your point of view. Lower Decks definitely pulled Star Trek back in the direction of episodic television, though, and there have since been thoroughly enjoyable standalone (or at least semi-standalone) episodes of Discovery. Prodigy is a surprising blend of the two; a number of standalone stories contained within a serialised framework.

The villainous Diviner is part of Prodigy’s ongoing serialised story.

This allows for genuine character development, and it’s been amazing to see the young crew of the USS Protostar grow into their roles, becoming a true Starfleet crew in every sense of the term. Individual episodes may take the crew on different adventures, but unlike most of the stories in shows like The Next Generation and Voyager, the lessons the crew of the Protostar learned stay with them. This allows for the overarching story of their conflict with the mysterious Diviner to unfold slowly while taking the crew on varied and fun adventures. This is the kind of storytelling model that Strange New Worlds has teased us with – and if the creative team in charge of that show manage to do half as well as the writers and producers of Prodigy, we’re in for a good time!

Prodigy has an amazing title sequence, with a theme that truly feels like it could’ve come from any of the pre-Enterprise shows. The adventurous, up-tempo music is pitch-perfect for the Star Trek franchise, and for the kind of series that Prodigy is, and it’s played over a fun title sequence that harkens back to the style used from The Original Series through to Enterprise. Every Star Trek show needs a fun, memorable theme and opening titles, and Prodigy absolutely nails that. It might sound like a silly thing to compliment, but this style of title sequence and this type of theme music are, in many ways, hallmarks of the Star Trek franchise.

The USS Protostar in flight as seen in the show’s title sequence.

Many Trekkies have noted over the years that a starship is an extra member of the crew; an extension of the series’ main cast. Prodigy brings a fun design to the table with the USS Protostar, one that appears externally to be very much in line with other 24th Century Starfleet vessels – albeit on a slightly smaller scale. The addition of its unique engine adds not only to the design of the ship, making it stand out, but also adds to the overall lore of Star Trek; it’s quite possible, in my opinion, that we’ll see this method of propulsion cropping up in future Star Trek productions.

Internally, the ship brings several different Star Trek designs together. I note influences from the Kelvin-timeline USS Enterprise on the Protostar’s bridge in particular, with the use of bright lights and sleek lines. The use of holographic displays in addition to flat panels is a continuation of a trend that we’ve seen in much of modern Star Trek, and the show takes full advantage of its animated nature to do things with holograms that would be expensive in live-action.

Zero at one of the Kelvin-esque bridge consoles.

Within the USS Protostar are most of the familiar rooms that we’d expect any 24th Century starship to have. The design of the transporter room was one I found to be especially clever; it feels like there are influences from the USS Discovery and the USS Voyager in particular. It’s important for any franchise to have common design elements – these are the visual cues for viewers that they’re watching Star Trek, not another random sci-fi franchise. Generally the designs across Prodigy have done well in that regard – and that’s before we get into the various designs that make a return from past iterations of the franchise.

Prodigy brought back Janeway’s familiar Voyager-era uniform (at least some of the time!) but pairs it with a scaled-back combadge design based on that used in The Original Series (and Lower Decks). The simplified combadge design works pretty well, and when taken in the broader context of those being used in Discovery, Lower Decks, Strange New Worlds (soon) and even to an extent Picard, it gives modern Star Trek a sense of consistency that is otherwise difficult to come by with so many different time periods in play! So I like the return to a more basic design – even if it was admittedly odd, at first, to see Janeway sporting this style of combadge.

Dal in the captain’s chair.

There’s a lot more I want to say about Prodigy, but we’d start getting into serious spoiler territory! So perhaps it’s best to end things here. Despite the damaging corporate nonsense that is, sadly, doing harm to Prodigy, the show itself has been a lot of fun. I wasn’t sure what to expect from a series that was deliberately pitched at such a young audience, but what I found was a genuinely great Star Trek show, one with all of the heart and spirit of adventure that has defined the franchise since its inception more than fifty years ago. It’s not the same as what came before, and there are kid-friendly elements and choices that you wouldn’t expect to see in any other Star Trek series. But those things aren’t front-and-centre the whole time, and overall the series has a lot to offer even if, like me, you’re not that young anymore!

I hope that Prodigy can succeed at bringing in hordes of new, younger fans. With a potential Starfleet Academy series also in the offing, and Lower Decks trying to bring in fans of animated comedy, there’s the potential for the Star Trek fandom to grow a lot over the next few years – something that will hopefully shore up the franchise and see it continuing to be supported for years to come. Of all the shows currently in production, Prodigy has the most potential, at least in my view, to bring in totally new fans.

Here’s hoping Prodigy will create lots of new Trekkies!

It’s up to all of us to try to make the fandom a welcoming place. I remember attending my first fan meet-ups in the early/mid-1990s, meeting older Trekkies who’d been fans since the days of The Original Series. No one made me feel unwelcome, even if I hadn’t seen every episode or film, and I hope that we can all extend that same courtesy to newbies who are jumping into Star Trek for the first time after getting excited by Prodigy. I’ve already heard anecdotally of new Prodigy fans who are jumping into Voyager to spend more time with Captain Janeway! Perhaps that could be a great excuse for ViacomCBS to finally get Voyager remastered… well, a fan can dream!

If you’ve been sleeping on Prodigy, or waiting to see how its first season was received, I hope you’ll give it a try. Stick with it for the first three or four episodes at least before judging it, and keep in mind that as a kids’ show it isn’t going to be exactly the same as past iterations of the franchise. There’s no shame in disliking Prodigy or finding that its tone isn’t right for you – but in my view, if you stick with it you’ll find a genuine Star Trek series that embodies all of the elements that fans have long enjoyed about the franchise.

I was surprised at just how invested I became in Prodigy and its characters. The world-building is fantastic, the stories dramatic and even emotional. It’s a Star Trek series through and through, and I can’t recommend it highly enough. Now if only ViacomCBS would allow it to be broadcast…

Star Trek: Prodigy Season 1, Part 1 consists of ten episodes and is available to stream now on Paramount+ in the United States. Some episodes are available to stream on Paramount+ in Australia, Latin America, and Scandinavia too. No further international distribution has been announced. The Star Trek franchise – including Prodigy, Voyager, and all other properties discussed 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.

Whoopi’s “whoopsie” – what might it mean for Star Trek: Picard?

This article deals with the subjects of the Holocaust and racism and may be uncomfortable for some readers.

It goes without saying that the Holocaust is an incredibly sensitive and delicate subject. Even titling this article Whoopi’s “whoopsie” might be enough to seem flippant or even offensive to some folks – but I just couldn’t resist the pun. If you haven’t heard about this controversy, I’ll briefly recap what happened before we get into some analysis and a consideration of what – if anything – it could mean for Star Trek: Picard Season 2.

Whoopi Goldberg, who plays the role of Guinan in the Star Trek franchise, is the co-host of The View, an American daytime television talk show. She’s known in that context for being bold and outspoken, particularly on issues of race in the United States. On a recent episode of The View, Goldberg made controversial remarks about the Holocaust, claiming that the event “isn’t about race” because it concerned “two white groups of people.” I encourage you to view the full exchange in context (you can find it on YouTube) but suffice to say that controversy soon ensued – and the condemnation of Goldberg’s comments even reached mainstream news outlets on this side of the Atlantic.

Whoopi Goldberg on a recent episode of The View.

Goldberg has offered her apology for the remarks she made, and it’s worth pointing that out before we go any further. She apologised for “the hurt [she] caused” and reiterated her support for Jewish people and Jewish communities around the world. It’s not for me to decide whether her apology is up to code, and again I encourage you to read it in full. I felt it important to point out that she has issued an apology before proceeding any further.

The Holocaust is such a unique event in the history of our world that it almost beggars belief that a 66-year-old woman, who otherwise seems to be well-informed and whose job it is to discuss current events, could be so profoundly ignorant or misinformed about what it is. Holocaust education, at least here in the UK, has been a big part of the history curriculum in schools for at least fifty years – if not longer – and there are many institutions around the world dedicated to preserving the memory of Holocaust victims and promoting education about the Holocaust. Less than a week ago, on the 27th of January, we marked Holocaust Memorial Day, a worldwide event held on the anniversary of the liberation of the Auschwitz concentration camp.

A photograph of the iconic entrance to Auschwitz concentration camp.

On a school trip to Germany almost thirty years ago I visited Sachsenhausen concentration camp and saw firsthand the kind of facilities that the Nazis used to keep political prisoners, Romani, Jews, and everyone else that they deemed “sub-human” or “undesirable.” Seeing the camp is something that has stuck with me for decades, and the sombre lessons that my class had about the Holocaust and the extermination of Jews are likewise seared in my memory.

British-made documentary series The World At War has one of the best educational pieces about the Holocaust that I’ve ever seen in its episode Genocide, and if you can find a copy I can’t recommend it highly enough. It’s a harrowing watch, but for anyone who wants to learn more about this defining moment in history, and the events that led to it, The World At War presents the history of the Holocaust about as well as possible, and includes interviews with survivors.

Title card for The World At War episode Genocide; recommended viewing for anyone wishing to learn more about the Holocaust.

Outside of conversations and discussions about Nazi Germany and the Holocaust itself, it’s almost never a good idea to bring up the Holocaust. Politicians, commentators, directors, and even journalists have all found themselves in trouble for saying something stupid or ill-informed, or for using the Holocaust as an unfair comparison to something else happening in the world. And when making unprepared, unscripted remarks – as Whoopi Goldberg appears to have been – misspeaking is all the easier.

I can’t defend what Whoopi Goldberg said. It was so ignorant and stupid that she deserves all of the backlash she receives. It’s also indicative, at least to me as a non-American, of America’s continuing obsession with black-and-white race issues that completely ignore every other marginalised group. Almost sixty years after Martin Luther King dreamed of a country where everyone would be judged by the “content of their character,” America seems more race-obsessed than ever – and that obsession with black-versus-white racism comes at the cost of marginalising or completely ignoring practically every other group.

Whoopi Goldberg with Stephen Colbert.

Part of Whoopi Goldberg’s defence of her original remarks, made during an appearance on The Late Show With Stephen Colbert, drew on her own understanding of race and racism as an African-American, and appear to me to reinforce the idea that too many Americans have a strange, warped misunderstanding of what race even is – as well as who can and can’t be racist and how racism itself works. To me, that’s indicative of a fundamental failure of the American education system and of the way racial issues in America are discussed and debated.

So that’s my read on what happened. Given the outrage that Whoopi Goldberg’s comments understandably generated, I wanted to step back and consider what impact, if any, the controversy now engulfing her may have on Star Trek: Picard Season 2, which is scheduled to premiere in just over four weeks from today. Goldberg is set to reprise her role of Guinan, bringing the character back to our screens for the first time since 1994’s Star Trek: Generations, and she was recently featured in a big way in the latest trailer.

Admiral Picard with Guinan in the Picard Season 2 trailer.

At time of writing, no one involved with Star Trek: Picard Season 2 has made a public statement on the Whoopi Goldberg controversy, but I don’t see how that can be sustainable, especially when the cast and crew get on the publicity circuit and start giving interviews in the run-up to the season premiere. Whoopi Goldberg, having just made her first big appearance in the new season’s marketing, may have been slated to make appearances or give interviews about the show – but I’m not sure whether that will happen at all now, or whether her role may be scaled back.

Sometimes they say that “there’s no such thing as bad publicity,” but take it from someone who used to work in marketing: this is about as bad as it gets in terms of publicity! The last thing anyone involved in Star Trek: Picard needs is for Whoopi Goldberg’s comments to overshadow the show’s return, so in my opinion the producers and actors need to get together and put out a statement relatively quickly, and certainly before they get out on the publicity circuit. That way they’ll be able to refer to their statement when the inevitable questions are asked.

A publicity event in the run-up to Picard Season 1 in 2020.

I’ve heard from several people who say that they’re either not going to watch Picard Season 2, or that they’re far less enthusiastic about supporting the upcoming season in light of Whoopi Goldberg’s comments. There’s a danger for ViacomCBS that this will snowball if they don’t handle it well, perhaps leading to an unofficial boycott or significantly fewer viewers tuning in, so the corporation and its marketing team really need to get out in front of this as quickly as possible.

There’s a theory from the world of literary criticism that I think is worth discussing: “death of the author.” Originally proposed in 1967 by French critic Roland Barthes, death of the author basically argues that we should consider a work of literature on its own merits, separating the writing from the writer. Death of the author has since been applied to other forms of media, including television and film, and in this context we’re looking at whether it might be possible to separate the performance from the actor – to enjoy Guinan without celebrating Whoopi Goldberg.

Guinan and Admiral Picard embracing in the Picard Season 2 trailer.

The two sides to this never-ending discussion are as follows: either it’s possible and desirable to separate the art from the artist, considering the merits of a piece without any consideration for who the author or artist was, or it isn’t possible or desirable to do so, and that the context of who the creator was matters in a fundamental way to the work in question. With actors this is, perhaps, more readily apparent because we can see and hear them; it’s far more difficult to put an actor out of our mind while watching and listening to them in real-time.

My take on death of the author varies somewhat. If an artist, author, or performer is long-dead, it’s much easier in my view to analyse their work, and even enjoy their work, without paying too much attention to who they were. The performance has outlived the performer, so to speak. But when dealing with living people, I find this far more difficult to do. I understand Barthes’ arguments about objectivity and judging a work on its own merits, but when people hold outspoken or particularly harmful points of view, I find it much more difficult to set that aside for the sake of art or entertainment.

Signature of Roland Barthes, who first espoused the theory known as “death of the author.”
Image Credit: Wandrg, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons

J.K. Rowling is perhaps the best example of this, in my opinion. Her blatantly transphobic statements and support for “gender critical” groups and causes has made it significantly harder for me to enjoy the Harry Potter series for which she’s best-known. I find it difficult to separate Harry Potter, either in book or film form, from J.K. Rowling in light of her offensive statements and the positions that she’s known to hold.

So when I hear Trekkies say that they can no longer support Star Trek: Picard in light of Whoopi Goldberg’s comments, I fully understand. I can empathise with that position because it’s very similar to how I see the Harry Potter series, and I wouldn’t want to tell anyone that they should feel differently. It can be difficult to set aside the artist and just focus on the art, especially when dealing with an actor who we have to see and listen to.

Harry Potter author J.K. Rowling.

I would say, though, that Whoopi Goldberg is nowhere near as important to Star Trek: Picard as someone like J.K. Rowling is to Harry Potter. She may only appear in one or two episodes, and as recently as last month it wasn’t even certain that she’d be appearing at all; her appearance in the trailer confirmed it. Had remarks like these been made by someone like Sir Patrick Stewart or one of the show’s senior producers, Star Trek: Picard would be in a lot more trouble. In my view, it’s probable that the show will be able to weather this storm, even if it loses some viewers in the process.

Whoopi Goldberg has offered an apology, and in the coming days I would expect to hear something from the Picard Season 2 cast and crew, disavowing her comments and perhaps dropping her from the publicity circuit or reducing her importance to the show’s marketing campaign. That will most likely allow Picard Season 2 to get through the next few weeks in the run-up to the show’s broadcast.

Whoopi Goldberg as Guinan in the Picard Season 2 trailer.

In a way, this couldn’t have come at a worse time. With the new season premiering in just over four weeks from now, this is the moment for the marketing campaign to truly gear up and start promoting the show’s return. It’s been two years since Picard Season 1 went off the air, so for casual viewers and for fans who aren’t keeping up-to-date with the ins and outs of Star Trek, simply getting the message out about Picard’s return has to be top priority. There’s no doubt in my mind that this controversy will be a distraction, one that the show absolutely does not need.

But I don’t believe it will be a fatal distraction, at least not as things stand. Whoopi Goldberg isn’t likely to be cut or edited out of Picard Season 2, and even seems likely to retain her job on The View, despite her remarks. There’s enough time over the next month for the marketing team to move past this controversy, which, like so many others, will have a relatively short shelf-life on social media before fading away.

I’m disappointed with Whoopi Goldberg. Her character of Guinan is so calm, ethereal, and wise that it can be jarring, as a Trekkie, to see Whoopi Goldberg talking up a storm on The View at the best of times, and this controversy is an even more extreme example. However, I note that she has at least made an attempt to apologise – and seems to be sincere. And on the positive side, her initial ignorance of the Holocaust may have shone a light on a far broader lack of understanding and proper education about the event in the United States, potentially exposing more people to the reality of what happened, thereby preventing this kind of blinkered, ignorant point of view from being espoused in future. Better education and a better understanding of the Holocaust are badly needed, it seems, and Whoopi Goldberg may have inadvertently aided that cause.

Star Trek: Picard Season 2 will premiere on the 3rd of March 2022 on Paramount+ in the United States, and on the 4th of March on Amazon Prime Video in the United Kingdom and around the world. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Do you have to love everything Star Trek does to be a “true fan?”

This essay was inspired in part by a couple of conversations I had over the holidays with fellow Trekkies, as well as a number of social media posts and groups that I’ve seen over the last few years. Though I’ll be addressing the question of “do you have to love everything the franchise does” from the perspective of a Star Trek fan, much of what I have to say can easily be applied to other fandoms and franchises as well. This essay isn’t an attack on any individual nor on anyone else’s position; it’s a defence of my own and my way of doing things here on the website. Let’s get started!

As I state in my methodology, and as I’ve said on a number of occasions in essays, reviews, and other pieces that I’ve published, I reserve the right as an independent critic/commentator to speak honestly and share my genuine thoughts and feelings on any of the subjects I write about here on the website. That includes the Star Trek franchise, and although I’m happy to say that I love Star Trek, that doesn’t mean that I necessarily love everything that the franchise puts out. Nor can I offer ViacomCBS – the corporation which owns and manages Star Trek – my support for many of the decisions that they’ve taken in recent years.

What does it mean to be a fan of Star Trek?

I think we can break this subject down into two main parts: firstly we have criticism of individual episodes, films, seasons, and entire series for things like narrative choice, visual effects, acting performances, pacing and editing, and so on. This is a basic outline of media criticism in a general sense, and any review or impression of an episode of television, a film, or an entire season or TV show should be expected to talk about at least some of these topics.

Secondly we have the corporate side of things. Business decisions, the leadership of the corporation, the timing of releases, the effectiveness of marketing campaigns, the overall direction of travel for the franchise that’s being set by the corporation in charge, and many other related matters. These are all things that fans of any franchise need to be aware of – and I would argue that critics should be able to discuss corporate affairs because of how they can impact the quality of content produced. Corporate matters can also spill over into the fan community.

Logo of ViacomCBS, the corporation which owns and manages Star Trek.

On the first point, I’m proud of the fact that I have a space on the internet where I can share my genuine and honest impressions of the latest Star Trek episodes (as well as other films, games, and television shows). I don’t want to restrict what I can say in any way, let alone confine myself to only sharing positive impressions and glossing over the negatives. This isn’t a space for whitewashing, and as I’ve said multiple times: I’m not aiming to be a cheerleader for any franchise, even one that I love as much as Star Trek.

That being said, out of more than eight hundred episodes and thirteen films (at time of writing), there really aren’t many that I consider to be irredeemably awful. Even Star Trek at its worst usually has redeeming features, and if you’ve read my reviews or write-ups of the handful of episodes that I dislike, you’ll see that I still find positive things to say about certain elements of them.

Spock’s Brain is widely considered to be one of the worst episodes from The Original Series.

I also try to offer as much of my criticism as possible in a constructive way. Rather than simply saying “this episode is crap” and leaving it at that, I try to lay out in as clear terms as possible what it was that I didn’t like, why specific elements of the narrative failed to resonate, and offer anyone reading my reviews an explanation for my conclusions. One of the problems with social media – especially with platforms like Twitter that encourage very short posts – is that any kind of explanation or nuance is lost. One of the main reasons why I created this website in the first place was so that I could expand properly on my thoughts and not find myself curtailed by word or character limits.

It’s that nuance that I think too often gets lost in the fast-paced world of online media discourse. People see a tweet, a headline, or an out-of-context excerpt and then move on to the next one, not stopping to read a longer review or listen to a longer podcast or video essay. It isn’t possible to summarise a review in just a couple of lines – and as you’re probably already aware, I have a somewhat longwinded writing style that is especially unsuited to short-form reviews and posts!

On a related note, follow me on Twitter!

Nuance is key to any decent review – and to any piece of media criticism in general. It’s incredibly rare to come across a film, video game, or episode of television that is completely perfect or utterly awful, and even in a positive review it can be worth drawing attention, however briefly, to negative aspects or things that didn’t work quite as well as others. This is something you’ll often see in my own work, and while I freely admit it can come across as “nitpicking,” for the same reasons of being constructive with criticism I stand by it.

It’s on the corporate side of things where I think it’s fair to say I’ve been far more critical than I have in any analysis or review! ViacomCBS has, in my view, mismanaged the Star Trek brand in significant and damaging ways in recent years, and the corporation’s failures have led to serious problems for the franchise as well as exacerbated divisions within the Star Trek fan community. I haven’t held back when it comes to criticising ViacomCBS and its board, and I will continue to do so as I see fit.

I’ve been critical of ViacomCBS – as illustrated by this edited poster I created for an article a few weeks ago.

The way I see it, there’s always going to be a spectrum of opinion on any franchise or work of media. At one end are people who totally hate it and find it awful, and at the other you have those who find it perfect (or who are paid to say nothing but positive things in public). As is happening in all walks of life, though, the middle ground is being increasingly pushed out. The shades of grey are less popular than ever before, with folks being encouraged to go all-in with either the haters or the lovers. For too many people, there’s no longer any room for a nuanced, moderate take on any film, video game, or television series.

I see this through my limited interactions with the Star Trek fan community first and foremost, but it’s also just as prevalent in practically every other fandom and many other walks of life – not least politics! There are a growing number of people who are quick to write off any new Star Trek as being automatically bad – in many cases without even bothering to watch it. And on the other side of what increasingly feels like a two-sided, black-or-white argument are those for whom Star Trek can do no wrong, with every single episode being flawless. I find that I can’t fit in with either group.

It can sometimes feel like my position doesn’t fit with either side of the fan community.

I’m too in love with “Nu-Trek” for those that consider anything post-2005 to have no redeeming features. And for some on the pro-Trek side, my very direct criticisms of ViacomCBS in particular, as well as some of my critiques of the handful of episodes that I didn’t like, make me too much of “a hater.”

Sometimes it’s fair to invoke the old adage that if I’m being criticised by both sides – on the pro side for being too anti and on the anti side for being too pro – I must be doing something right. But it doesn’t feel that way, and it seems that, no matter what I say about Star Trek, I’m going to attract criticism from one side or, in some cases, both. Taking a position where I try to offer constructive criticism while also expressing my passion for a franchise I truly care about is difficult, and for some folks who seem only to want to have their pre-existing biases about Star Trek reflected back at them, my independent position and willingness to consider both positives and negatives isn’t what they want.

The Star Trek Universe is a big place, but sometimes it feels as though it’s divided into just two camps.

All of this leads me to the question I asked at the beginning: do you have to love everything Star Trek does to be considered a “true fan?” For some people, it seems that the answer to that question is a resounding “yes.” I’ve spoken with some Trekkies who say that, if they ever did find something within Star Trek that they didn’t like, they’d prefer to keep it to themselves rather than say anything at all that could be considered critical of the franchise.

But to me, that isn’t how fans should react. Blind, unquestioning love or devotion is what some religions and cults seek from their adherents, but when it comes to something like a science-fiction franchise, surely we should feel free to speak as we find? And more importantly, if there aren’t people willing to offer constructive criticism, how will the creative teams and corporate leaders know what’s going wrong? Failing to offer valid criticism where valid criticism is due can only lead to the franchise repeating mistakes or doubling-down on them, and that will lead to Star Trek coming to harm in the medium-to-long term.

This sequence in the Lower Decks Season 1 episode Envoys is one that I criticised in my review.

Star Trek, like all major franchises, has its own team of paid cheerleaders. ViacomCBS has a marketing department, social media channels, a website, and a number of people on its books either as full-time employees or freelancers. The corporation doesn’t need blind, unwavering support from fans that glosses over or ignores criticism. It needs honesty from its biggest fans.

At the same time, there are too many so-called “fans” who have come to deal in nothing but hate. Ironically, these people often undermine their own cause by being too spiteful and vitriolic – and that’s before we get into the blatant bigotry, homophobia, transphobia, racism, and other unsavoury characteristics that seem to be prevalent in some anti-Trek social media groups online. By offering one-dimensional hate – often for shows or episodes that they will admit to never having even watched – these people make it easy for ViacomCBS and the creative teams in charge of Star Trek to write off any kernels of legitimate criticism that they may have had to offer.

It must be some kind of visual metaphor…

Since Star Trek returned to the small screen in 2017, there have been a handful of episodes that I disliked. I haven’t reviewed all of them here on the website (because I’ve only been here since late 2019) but for those that did get the full review or write-up treatment, I’ve tried to be both fair and constructive in my criticisms.

We often hear about toxic negativity within fan communities, and you can find many examples of so-called “fans” who take their dislike of certain narratives or characters to ludicrous and often hateful extremes. But I’d posit that there can be such a thing as toxic positivity as well, where fans are unwilling to so much as entertain the possibility that some aspect of their favourite franchise is wrong, or that the company running that franchise has made a mistake. Both forms can be damaging, both can lead to arguments and disagreements within fan communities, and I would argue very strongly that neither serves the franchise in question well.

Discovery has attracted criticism – and a lot of support, too – since it debuted in 2017.

I can empathise, to an extent anyway, with people who haven’t enjoyed Star Trek’s return to the small screen. Around the turn of the millennium, I was listening to the radio when the news of a new Star Trek show was breaking. I was dismayed to learn that the planned series was going to be a prequel, as I felt that Star Trek was a franchise that should aim to look to the future rather than look backwards at its own past. I also felt that prequels in general were problematic – this coming in the wake of the disappointment of The Phantom Menace over in the Star Wars franchise, which had been released around the same time.

Though I ultimately tuned in to see Enterprise’s premiere in late 2001, for much of the show’s four-season run I only tuned in sporadically, and was far from being a fan – or even regular viewer – at that point in my life. I can relate to at least some of the folks who haven’t been wild about everything Star Trek has done in recent years because I was once in a similar position. I actually find it somewhat ironic, considering the divisions in the fandom that were prevalent around the time of Enterprise’s premiere, how so many of these anti-Trek folks seem to lump Enterprise in with all of the previous Star Trek shows as being the franchise’s “heyday” and a time at which there was no division. Just because they missed those arguments doesn’t mean that they didn’t happen!

I nearly missed out on Enterprise, but have since used it as a great example of a show that exceeded my expectations and had more to offer than I initially thought.

I did eventually get around to watching all of Enterprise when I got the series on DVD a few years after it went off the air. And I was pleasantly surprised by what I found. It was a true Star Trek series, one that embodied the spirit of exploration of the franchise’s early days – something that had been, to an extent, lost in the Dominion War arc of Deep Space Nine’s later seasons and that played second fiddle in Voyager’s journey home. I came to respect and even admire what Enterprise had to offer – even though I didn’t see it at first. In time, I wonder how many people on the anti-Trek side of things will come to similar conclusions about the current crop of Star Trek shows.

That’s just part of my personal history as a Trekkie, and I hope it provides context to some of the things we’ve talked about today. I very firmly believe that fans don’t need to adore everything that Star Trek does. Disliking an episode or two here and there or feeling that the franchise’s corporate leadership is making mistakes doesn’t make anyone less of a fan, and calling these things out is actually important. The franchise, and those who lead it and are responsible for taking it forward, need that kind of honesty from Star Trek’s biggest fans.

Et in Arcadia Ego, Part 1 was an episode I criticised heavily.

However, it’s important that criticism is presented in a constructive way. There are many forms of constructive criticism, and trying to dismiss any or all of them as unwarranted hate isn’t the right approach. As Trekkies, I feel we should be bold – fearless, even – in calling out mistakes or problems as we find them. That’s what I try to do here on the website, offering a balanced and I hope fair approach with all of my reviews and commentary.

There have been mistakes made by ViacomCBS. We won’t get into all of them again here, but suffice to say that I also feel that it’s important for us as Trekkies to hold the corporation to account when it screws up. We saw an example of this recently with the Discovery Season 4 debacle, and that represented a rare moment of unity within the fandom – fans from all sides of the debate, and even some Star Trek creatives, all joined in to call on the corporation to do something to address the self-inflicted problem. The end result was a victory (of sorts) for fans.

ViacomCBS shares took a big hit in the wake of the Discovery Season 4 debacle last November.

We’re lucky that, right now, there’s more Star Trek on our screens than ever before. I noted with happiness in 2020 that it was the first year since 1998 where three different Star Trek productions were broadcast – but 2022 is going to eclipse that by a country mile! We’re on course to see five different Star Trek productions hit our screens between now and Christmas, and the varied mix of different shows with different focuses should mean that there’s something that the franchise can offer to every Trekkie. As someone who has generally enjoyed what modern Star Trek has had to offer, I’m incredibly pleased with that!

But that doesn’t mean I’m going to ignore missteps or problems. Several of these upcoming shows won’t be available for every Trekkie because the rollout of Paramount+ is painfully slow and plagued by problems. That’s by far the biggest issue, and it’s one I’ve been calling on ViacomCBS to address since Lower Decks Season 1 only aired in the United States back in 2020.

Much of the world – including my native UK – is still waiting for Paramount+.

My approach to Star Trek will continue to be nuanced. I’ll continue to say that I’m thrilled that ViacomCBS is producing so much Star Trek, while simultaneously criticising the corporation for failing to bring these new shows to fans around the world. I’ll continue to say that, as long as ViacomCBS and Paramount+ deny shows like Prodigy to international fans, piracy is absolutely morally justifiable. And I will, of course, continue to criticise everything from bad acting and crappy editing to poor narrative decisions. Does that make me less of a “true fan?” I don’t think so.

But if you disagree, that’s up to you. I’m not in the business of telling anybody what to think, and I offer my reviews and commentary as-is. Take it or leave it, and if folks don’t like what I have to say or the way I approach my discussions of Star Trek, they’re free to click off my website and seek out other critics and reviewers whose content they prefer. There are always going to be a plethora of opinions and a wide spectrum of views about Star Trek – such is the nature of media criticism in general. I offer my take to folks who are interested, and although I find myself speaking negatively about Star Trek and the corporation that owns it, I like to think I do so from a place of love.

There is a lot to love about Star Trek in both its older and modern forms. There are also elements that deserve criticism, and I don’t believe that anyone should be considered less of a “true fan” for pointing those out.

The Star Trek franchise, including all properties mentioned above, is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Picard Season 2 theory: He didn’t do it!

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1 and the trailers and teasers for Season 2. Spoilers are also present for Star Trek: Discovery Seasons 1-4, Star Trek Into Darkness, and Star Trek: The Next Generation.

What’s the one thing that we know for certain right now about the plot of Star Trek: Picard Season 2? We know that Q interfered with the timeline, “breaking reality” in the process, and causing Admiral Picard and the crew of La Sirena to have to undertake a dangerous new mission to the past. But what if everything isn’t as it seems – what if Q isn’t the one responsible for the damage to the timeline? Or if he is responsible, what if he has an understandable – and possibly even altruistic – motive? Those are the two parts of the theory that we’re going to consider today!

First up, let’s acknowledge some production-side reasons why this theory may pan out in some form, then we’ll jump into in-universe explanations after. Ever since Star Trek returned to the small screen in 2017 – and also during the Kelvin films and even, to an extent, in the latter part of Enterprise’s run – the writers of the franchise have been very keen to bring mysterious elements into Star Trek. The whole reason I got into writing up lists of theories was because there’s been just so much to speculate about in practically all of the franchise’s modern incarnations!

Oh look, it’s brand-new character “John Harrison.”

In Discovery Season 1, there was the hidden identity of Captain Lorca. In Season 2, the Red Angel’s identity (and Spock’s connection to it) formed a huge part of the narrative. In Season 3, there was the Burn. In Season 4 we have the ongoing mysteries of the Dark Matter Anomaly, Unknown Species 10-C, and more. And in Picard Season 1 we had the mystery of Dahj and Soji, Bruce Maddox going missing, Coppelius, the Zhat Vash’s admonition and crusade, and the super-synths.

In all of these cases, everything was not as it seemed. In the run-up to Picard Season 1, Soji’s very existence was kept secret, with Isa Briones claiming to only play the character of Dahj. The show played its cards close to its chest for practically the entire season, keeping secrets about the nature of the Artifact, the Romulans’ plans, the super-synths, and more. The show has precedent when it comes to telling stories that go to unexpected places – and I see no reason at all to think that Season 2 will be any different in that regard.

Dahj in Season 1 of Picard.

The trailers and teasers that we’ve seen so far have been careful not to telegraph too much of the story. I suspect we’ve seen glimpses of scenes from the first two or three episodes at the very most, so the true nature of the story – and Q’s role in it – is still very much in play right now. No trailer or marketing campaign should spoil the finished product, and in some cases trailers can be cut and edited in very specific ways to conceal or outright lie about certain elements of a story. It wouldn’t be the first time that this has happened, not by a long shot!

There was also a remark from Sir Patrick Stewart almost a year ago, when Q’s return to the franchise was first announced. At last year’s First Contact Day digital event, Admiral Picard himself seemed to suggest that, while Q was certainly involved with whatever was going on, he wasn’t necessarily wholly responsible for it. That distinction may be key to this theory!

Sir Patrick Stewart at 2021’s First Contact Day digital event.

So let’s leave the real world behind and jump into the Star Trek galaxy. There is, in my view, evidence to suggest that Q wouldn’t do something that so drastically damaged the entire timeline. Ever since his first appearance in Encounter at Farpoint, Q has been viewed by Picard as an adversary – but I would argue very strongly that that isn’t how Q sees himself. By pushing and provoking Picard, Q has arguably sought to expand Picard’s understanding of the universe far beyond what he might’ve otherwise been capable of. In Q’s mind, the ends justify the means – so all of the meddling and provocation was worth it to get Picard (and humanity) ready for whatever the Q Continuum has in store next.

It’s even possible to read some of Q’s more belligerent actions – like placing the Enterprise-D in the vicinity of a Borg vessel – with the benefit of this additional context. In my earlier theory titled Q the saviour, this is exactly the point I tried to make. Q deliberately chose to introduce Starfleet to the Borg because he knew that the Borg were already planning to target the Federation, and he hoped that his intervention would show the Federation how dangerous the Borg threat really was.

In light of the mess that the Star Trek franchise has made of Borg-Federation contact, I think that theory absolutely holds water, but check out the full article because I get into it in way more detail!

Q introduced Picard and Starfleet to the Borg.

Whether you buy into my theory in full or not, I think we can agree at the very least that this is how Q sees himself. He doesn’t see himself as an enemy, provoking Picard out of boredom or malice. He sees himself as a friend, and may even feel that Picard is ungrateful for not reciprocating those feelings of friendship.

Q accused humanity of being a “dangerous, savage, child-race,” and it’s on these charges that Picard and all of humankind are on trial, and have been since Encounter at Farpoint. But at every stage, Q has seemed smugly satisfied when the puzzles he lays out for Picard (and others) are solved. He seems to see potential in humanity – perhaps even the potential to one day know as much about the universe as the Q Continuum themselves.

Q in his judge’s robes.

In episodes like All Good Things, Q even claims to have helped Picard solve a particularly difficult puzzle. By learning to see time itself not as totally linear, but in a new and different way, Picard was able to solve the anti-time puzzle. Likewise in Tapestry, Q gave Picard a chance to see what his life might’ve been like had it taken a different path. That definitely sounds familiar to his line in the Season 2 trailers about “the road not taken!”

In Tapestry, though, Q wasn’t some nefarious villain. He was making a point to Picard – in his own tricksterish way – about the course of his life, and how being a risk-taker was an inherent part of his personality. He didn’t abandon Picard to the new timeline that he’d created, instead giving him an opportunity to fix his mistake.

Q and Picard in Tapestry.

Q has, on occasion, seemed impressed with Picard and his ability to solve the puzzles he created for him. Even when Picard had to grovel to Q in Q Who and admit that the Federation wasn’t ready to encounter the Borg, and that the encounter was frightening, Q seemed satisfied that he’d made his point. In Encounter at Farpoint and in All Good Things in particular, Q even seemed pleased that Picard had been able to think through a complex situation and find a solution. He helped – but in a limited way – and in an almost-parental way seemed kind of proud of Picard.

Those feelings, of course, are not reciprocated, and Q has definitely caused death and destruction. Eighteen members of the Enterprise-D’s crew were lost in that first encounter with the Borg, for example, and Q didn’t restore them to life afterwards. However, on other occasions he did undo harm, and even death, caused to humans – such as by un-freezing Tasha Yar in Encounter at Farpoint.

Tasha Yar being un-frozen by Q in Encounter at Farpoint.

Q being the out-and-out villain of Picard Season 2 would, I would argue, represent a fundamental shift in his characterisation. It would take Q from being a trickster and an annoyance into something much more sinister, and while it’s certainly possible that he could have a darker side that we aren’t familiar with, it would be a major change that would require a good deal of explanation. Why, after having seemingly sensed potential in Picard and humankind, would Q try to do something so extreme?

Furthermore, from a narrative perspective Q doesn’t make a good villain. His god-like powers basically mean that Picard and his crew could never win, and Q’s amorality and lack of fair play mean that he would always be in a position to dominate and frustrate Picard if he ever came close to defeating him. This is a problem all overpowered characters in fiction can have, and it applies to Q in Star Trek just as much as it does elsewhere. Given what we know of Q and his abilities, it doesn’t even seem plausible that the Federation could find a technobabble explanation for limiting his powers, either.

Q has god-like powers.

So there are two questions remaining: did Q meddle with the timeline at all? And if not, who did?

There’s a case to be made that Q did still interfere with the timeline, and that all of this is another one of his puzzles for Picard to solve. That’s certainly one possibility, and it wouldn’t be completely out-of-character for Q to behave in this way. Perhaps he saw Picard getting back on his feet after years in seclusion and decided the time was right for another phase of the “trial.” Maybe we’ll learn that Q has visited Picard during his self-imposed isolation, too.

But there’s also another case we can make: Q didn’t have anything whatsoever to do with the event that disrupted the timeline. The extent of his involvement may be shielding Picard and the crew of La Sirena from its effects, allowing them to travel back in time to undo whatever happened. There are many culprits we could point to if Q isn’t to blame: the super-synths from Season 1, the Borg, the Terran Empire, a faction from Discovery’s Temporal War, etc.

The super-synths’ mechanical tentacles in the Season 1 finale.

Q may thus have an altruistic motive for reappearing in Picard’s life. If some external force or faction is responsible for the damage to the timeline, Q might believe that it’s up to him to “save” Picard and humanity. By returning to his old friend, he might do what we know he’s done on multiple occasions already: give him the tools to understand and fix the problem, but without giving him all of the answers right away.

To me, that is Q’s modus operandi. He sets up a problem – or allows Picard to encounter a problem independently – and provides minimal help. In Encounter at Farpoint, Q could’ve just been up front about the nature of Farpoint Station, but instead he forced Picard to solve the puzzle himself. In Q Who he could’ve simply told Picard about the Borg and their destructive power, but instead he made sure Picard encountered them first-hand. In All Good Things he could’ve explained the nature of the anti-time eruption, but instead he watched as Picard figured it out for himself. On each of these occasions (and more) Q provided minimal help and assistance – but the help and assistance he did provide ultimately proved key to resolving the situation favourably.

Q in All Good Things.

If Q wanted to, he could wipe humanity out of existence with a mere thought. If he wanted to kill or seriously harm Picard, he has infinite ways of doing so and unlimited opportunities to do so. He could go back in time and prevent Picard’s birth or turn him into Murf from Star Trek: Prodigy, or a million other ridiculous and sinister things. Sending Picard on a mission back in time, thus giving him a chance to undo whatever damage has been done, is not the way for Q to “win” in any sense of the word.

So it’s safe to say that I believe there’s more going on with Q than meets the eye! His involvement with the event that damages the timeline, and his reasons for getting involved in the first place, may seem suspicious right now – but we’re seeing small glimpses through the eyes of Picard, and thus with Picard’s own biases attached. Considering all of the other things that Q has done, and the many other ways he’s challenged and provoked Picard over the years, my suspicion right now is that there’s something else going on that the trailers and teasers have been careful not to reveal.

Q as he will appear in Season 2 of Picard.

To summarise this theory, then: Q either isn’t responsible for damaging the timeline at all, or he’s doing so for the purposes of testing or challenging Picard. What we’ve seen so far doesn’t depict a serious attempt on Q’s part to harm Picard or even permanently disrupt the Federation or the prime timeline; there’s something more going on that we haven’t yet seen – something that will, perhaps, unfold slowly over ten episodes!

I’m genuinely excited to see Q make a return to Star Trek. His appearance in Lower Decks Season 1 was relatively minor, so it will be neat to have him back in a substantial way – whatever form that ultimately takes and whatever his impact on the season’s narrative. He’s a more complex character than some viewers give him credit for, and as I’ve said before I don’t think it’s fair to call Q a “villain” – at least not in any of his appearances thus far. Perhaps Picard Season 2 will change that, showing us a darker and more sinister presentation of the character. But maybe we’ll get a continuation of this complex presentation, and the return of a truly interesting dynamic between Q and Picard.

Stay tuned when Picard Season 2 kicks off in March, because if there’s any development of this theory I’m sure I’ll have something to say about it!

You can also check out my other big Q theory by clicking or tapping here.

Star Trek: Picard Season 2 will stream on Paramount+ in the United States and on Amazon Prime Video in the United Kingdom and around the world beginning on the 3rd of March 2022. The Star Trek franchise – including all characters 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.

Munich: The Edge of War – film review

Spoiler Warning: There are spoilers ahead for Munich: The Edge of War and the novel upon which it is based.

Munich: The Edge of War had been on my list of things to watch since last year. It was initially expected to come to Netflix in 2021, but that was pushed back to January 2022. The film made its debut on Netflix a few days ago, and as a history buff I was genuinely interested to see what its take would be on one of the most significant events leading to the outbreak of World War II.

Like many Brits of my generation, I have a family connection to the war. My grandfather served in the British army, having volunteered shortly after the official declaration of war in September 1939. He spent almost four years in a prisoner of war camp after being captured, and my grandmother spent most of the war by herself in London – with bombs raining down! So aside from my general interest in all things historical, I really do feel a family tie to the events of this era.

My grandparents would have been familiar with street scenes like this.

Munich: The Edge of War was not what I was expecting. All I really knew about the film before I sat down to watch it was that it intended to depict the events surrounding the 1938 Munich Agreement, with Jeremy Irons playing the role of now-infamous British Prime Minister Neville Chamberlain. But the film used those events as a backdrop rather than the main event, and instead told a fictional story of two junior civil servants, setting up an unexpectedly tense spy thriller with some heavy moments of characterisation and drama.

I’m always a little uncomfortable about fictionalising real-world events. Inserting fictional characters alongside real people – especially people who may still be alive or who may have living relatives – can feel a bit perverse, as if writers and filmmakers are trivialising the stories of actual people, or instilling false narratives for the sake of entertainment. There are many examples of how this can go wrong, and how fictionalised versions of real people can be completely different from how they were in real life.

Academy Award-winner Jeremy Irons took on the role of Neville Chamberlain.

In the case of Munich: The Edge of War, I think the film generally avoided that pitfall. It did so, however, by having a completely different focus than I was expecting – one in which very few real-life individuals played significant roles. Even Chamberlain himself, the portrayal of whom had been a big part of the film’s pre-release marketing, was relegated to a supporting role. Chamberlain only really had one big fictionalised moment; the rest of the time he was playing the role we might’ve been expecting.

I’ve always rated Jeremy Irons highly as an actor. His portrayals in films as diverse as The Lion King and The French Lieutenant’s Woman have been fantastic, and of course he’s an Academy Award winner. He definitely brought a much needed gravitas to the role of Neville Chamberlain, and despite the plot of the film focusing primarily on events elsewhere, Munich: The Edge of War was definitely the better for Irons’ portrayal of one of history’s most interesting and, still, disliked figures.

Prime Minister Chamberlain gives a famous radio address.

Neville Chamberlain and the Munich Agreement depicted in Munich: The Edge of War long ago became bywords for appeasement and foreign policy failures. Contemporary political figures of all stripes are wary of comparisons to Chamberlain, and his name is invoked on both sides of the Atlantic when politicians and leaders try to deal with difficult foreign policy situations.

Some of that criticism is earned, of course. But as with any historical figure, there’s more to Neville Chamberlain than one half-baked narrative, and this is something that, to its credit, Munich: The Edge of War touches on. There hasn’t really been an historical reappraisal of Chamberlain and the overall policy of appeasement, and the film is too short and has too many other balls to juggle to really add much to that conversation anyway. But in its presentation of Chamberlain, we at least catch a glimpse of how the situation might’ve appeared from his perspective.

We all know the history surrounding this moment, but the film showed it in a slightly different light.

Neville Chamberlain became Prime Minister in 1937, more than a year after the event that historians widely agree was the “last best chance” to stop Hitler’s aggressive policies and delay or prevent a war. This was, of course, the reoccupation of the Rheinland by German forces, and it came during the tenure of Prime Minister Stanley Baldwin, who had set the tone of appeasement during much of the preceding couple of years.

Chamberlain’s remark in Munich: The Edge of War about “playing the cards [he] was dealt” can be seen through this lens. In that sense, the film takes more of a pro-Chamberlain view than many others dealing with the same subject matter would; the Munich Agreement is supposed to be the embodiment of the failures of both appeasement in general and Chamberlain personally, yet director Christian Schwochow – and Robert Harris, the author of the novel upon which the film was based – present both sympathetically.

Chamberlain had to play the hand of cards that he had been dealt – that’s one of the messages the film wants to convey.

Munich: The Edge of War chooses to portray the Munich Agreement not as the pinnacle of failure, but as a temporary reprieve, one which was cleverly employed by Chamberlain to stall for time. Chamberlain comes across not as the bumbling idiot of history who couldn’t see Hitler and the Nazis for what they were, but instead as someone with limited options who did the best he could to avoid an immediate conflict that he felt certain would’ve doomed Britain to defeat.

Whether this portrayal is fair or not is left up to the viewer, naturally, but this is the take that the film offers. It’s still possible to sit through the tense moments in the run-up to the treaty being offered while acknowledging the ultimate futility of it all, but doing so requires us to step out of Munich: The Edge of War and consider where the film sits in the history of the real world. Taken solely on its own merits, these moments of tension and drama work – even though some could feel a little forced.

George MacKay as Hugh Legat.

The role of Adolf Hitler is always going to be a challenging one to cast and to play, and it was here that I felt Munich: The Edge of War hit a stumbling block. Ulrich Matthes felt miscast in the role, and while he did his best to play up the sense of Hitler as a menace, the portrayal never quite landed for me. 1938 should see Adolf Hitler at the absolute zenith of his power, yet in Munich: The Edge of War he somehow felt small; the presence he should’ve had came more from the script than the screen presence.

Hitler was also the only character in the film whose costumes seemed ill-fitting. Ulrich Matthes is not especially short, but he does have a rather slender frame, and several of the costumes he wore as Hitler seemed rather too large for him, giving one of history’s worst dictators the appearance of a schoolboy whose parents had bought him a suit he was expected to “grow into.” Combined with a less-than-stellar performance, this robbed the character of much of the gravitas needed to make the moments where he was centre-stage feel like they mattered. Though Hitler got comparatively little screen time, his actions were the driving force behind both halves of the plot, and we as the audience needed to be able to take him seriously enough to make the rest of the film work. As it is, the best I can say is that this key character didn’t quite fall to the level of damaging the rest of the film – but the way he came across on screen did nothing to elevate it.

Ulrich Matthes as Adolf Hitler.

So we come to the junior civil servants, the fictional people upon whose shoulders the real story of Munich: The Edge of War was carried. I really liked the contrast between the two men – Paul von Hartmann, played by Jannis Niewöhner, and Hugh Legat, played by George MacKay. They came from similar worlds, as the scenes showing them together at Oxford University showed, but they ended up on very different philosophical and political paths, largely (but not entirely) due to circumstances beyond their control.

In a sense, the stories of von Hartmann and Legat stand to represent hundreds of thousands of bureaucrats and minor functionaries on both sides of the war – and by extension the millions of enlisted and conscripted men who ultimately fought in the conflict. People from all social classes, all backgrounds, and all walks of life were ripped out of their surroundings and pitted against one another by great powers and by forces beyond their control. Legat and von Hartmann were swept along by circumstances in their home countries, driven apart by fanatical politics, but ultimately came back together to try to do the right thing. Though their stories were fictional, they represent millions of untold stories of real people in similar situations.

The fictional stories of Legat and von Hartmann can be seen as representing millions of real people throughout the war.

Both of the actors put in exceptional performances. I truly bought into von Hartmann’s enthusiastic and impassioned defence of Hitler when he and Legat argued in a flashback sequence. Jannis Niewöhner brought that moment to life, showing the burning passion that many politically active young people have. It was misguided, of course, as von Hartmann would later come to realise, but as a believable performance of a young man in Germany in that time period I thought it was absolutely outstanding.

George MacKay is someone I’m familiar with from the film 1917, and he put in just as complex a performance in Munich: The Edge of War as he had in the title which had won him critical acclaim a couple of years ago. It isn’t fair to compare two different characters, but in this case I definitely felt echoes of William Schofield (his 1917 character) in Hugh Legat. Both men find themselves thrust into difficult and dangerous circumstances for which they are ill-prepared, and both do their best to rise to meet the challenges in front of them.

George MacKay put in a solid performance as a man who finds himself facing an unexpected and difficult task.

Legat and von Hartmann were both granted love interests by Munich: The Edge of War, and here is perhaps where we ran into a fairly typical issue when condensing the story of a novel into the runtime of a single film. Neither Legat’s wife nor the character of Lena, whose injury seems to have been a driving force behind von Hartmann turning against Hitler, felt well-developed. I’d go so far as to call both extraneous to the plot; the minor roles they played didn’t feel necessary to inform either Legat or von Hartmann, and didn’t really serve to accomplish much of anything.

I’d argue that, in a film about Adolf Hitler and the outbreak of World War II, practically no fictional character needs more motivation to stop Hitler than “because it’s Hitler,” and with the revelation of Lena’s attack and disability not coming until the film was practically over and the bulk of the spy thriller plot had concluded, it didn’t really achieve what it intended anyway. It was, at best, background – and there’s nothing wrong with fleshing out characters and giving them family connections or love interests in a general sense. But in Munich: The Edge of War it was, perhaps, an unnecessary inclusion.

Jannis Niewöhner as Paul von Hartmann.

With the exception of the aforementioned costuming problem, I felt that the visual side of Munich: The Edge of War was handled very well. The few uses of visual effects (such as for a steam train) worked as intended, and the exterior and interior sets all succeeded at transporting me to the 1930s. I particularly felt that the main set used for the Munich conference captured the spirit of Nazi architecture well, and felt sufficiently imposing.

Munich: The Edge of War was definitely the better for the inclusion of German alongside English as its spoken languages. Seeing German characters speaking to one another in German adds a sense of realism that’s important to a piece like this, and switching back and forth between the two languages worked well. Having both principal characters being fluent in both languages allowed for them to mix it up, speaking German in some circumstances and English in others.

The arrival of the delegations at the conference venue.

To wrap things up, Munich: The Edge of War isn’t going to have the cut-through of a film like 2004’s Downfall. In order to appreciate what it has to offer, I think you really need to have at least a passing interest in the Second World War and the events the film aims to depict. Some historical dramas and thrillers can cross over and find mainstream appeal; I believe that Munich: The Edge of War simply isn’t that kind of film. That isn’t to say it’s bad by any means – I had an enjoyable time with it. It just isn’t quite on the same level as films like Downfall.

I arrived expecting to find a film that focused more on Chamberlain himself, but found instead a perfectly entertaining spy thriller that managed to have a few novelties to offer fans of the genre as a whole. The newness of both spies, the real historical backdrop, and the dual nature of its protagonists makes Munich: The Edge of War stand out somewhat in a genre that can feel repetitive and samey. Those elements carried the film far enough to make it an enjoyable experience.

I’d have liked to have seen more of Jeremy Irons’ portrayal of Chamberlain, as I felt he was somewhat limited in the screen time he had in a film that had another story to tell. Other than that, Munich: The Edge of War was entertaining. It was tense enough and dramatic enough in the right places, told a unique story, and gave us a small but different look at an historical figure that we’ve been told for more than eighty years we should vehemently disapprove of.

Munich: The Edge of War is available to stream now on Netflix. Munich: The Edge of War is the copyright of Netflix and/or Turbine Studios. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Picard Season 2 – thoughts on the new trailer

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1 and all of the trailers and teasers for Season 2. Minor spoilers are also present for Star Trek: Discovery Season 3, Star Trek: The Next Generation, Star Trek: Generations, and Star Trek Into Darkness.

Hot on the heels of a slew of announcements and updates about current and upcoming Star Trek shows a few days ago, a new trailer for Season 2 of Star Trek: Picard debuted on social media! The show’s release date has been pushed back slightly from February to early March, something that seemed inevitable when it was hastily announced that Discovery Season 4 was taking a six-week hiatus. Even with the delay, Picard Season 2 is now less than six weeks away, though, so it’s time for ViacomCBS to start the marketing push and, for us as Trekkies, it’s time to start getting hyped for the return of Admiral Picard and the crew of La Sirena!

If you’re a regular reader, you might remember that I was less than impressed with the last trailer for Picard Season 2 when it was shown off at the Star Trek Day live broadcast back in September. The upcoming season of Picard seems to be combining two of my least-favourite Star Trek story tropes: time travel to the modern day and a setting that’s at least superficially reminiscent of the Mirror Universe. Those elements were still front-and-centre in the new trailer, but I felt that this time they were presented in a more mysterious and exciting way.

Less than six weeks to go!

Sir Patrick Stewart had invited Whoopi Goldberg to reprise her role of Guinan during an appearance on The View a couple of years ago, but we’d seen and heard nothing of Guinan since. I wasn’t alone in speculating that perhaps the story of Season 2 may have gone in a different direction, or that Guinan might’ve been included in Season 3 instead of in Season 2. That was an incorrect assumption, though! Guinan made an appearance in the new trailer, working in her familiar role as a bartender – this time at a bar called “10” on Forward Avenue.

Picard entering Guinan’s bar.

It was truly wonderful to welcome back Whoopi Goldberg to the role of Guinan. We haven’t seen her since Star Trek: Generations was in cinemas in 1994, and I’m hopeful that she’ll make a significant impact on the story this season. “Significant” doesn’t mean she has to appear in a lot of episodes or scenes, but rather that the scenes she does have with Admiral Picard will be meaningful. She was a dominant presence in the trailer, but the shots we saw of her all seemed to be taken from one sequence.

Guinan is back!

So let’s briefly step back and consider what we learned in the past couple of trailers. Something – possibly Q, but possibly not Q – has changed or damaged the timeline, leading to the rise of a “totalitarian state” which has replaced the Federation. Picard and the crew of La Sirena seem to be the only ones aware of the change – but I reckon this is where Guinan will come in. If you remember The Next Generation Season 3 episode Yesterday’s Enterprise, Guinan was the only member of the crew of the Enterprise-D who realised that the timeline had been changed. As an El-Aurian, her perceptiveness of such things was heightened compared to humans, so she may be one of the few people that Picard can turn to for help (other than Q and the crew of La Sirena) after the timelines shift.

Guinan and Picard embrace.

I could be wrong about that, of course! There was just something about Guinan’s presence on Earth and the way Picard seemed to be seeking her out that makes me think we’re looking at something happening after the event that damaged the timeline. Guinan also repeated the words spoken by Picard in the first Season 2 teaser, referring to a “final frontier” that could mean time travel. Picard referred to time as “the true final frontier” in that teaser, and I wonder if he says that line after meeting with Guinan.

Picard seems to be seeking out Guinan for advice.

Speaking of time travel, it very much looks like La Sirena will be using the “slingshot method” to travel through time, as several shots in the trailer seemed to show the ship travelling very close to a star. Though this is a known method of time travel within the Star Trek universe, it’s one we haven’t seen used since Star Trek IV – all of the shows set in the 24th Century seemed to ignore this method, and time travel technology seemed to have not been developed until later on. This has always been a bit of a discrepancy within Star Trek’s internal canon, because The Original Series showed time travel several times, and depicted it as being something relatively easy to do with 23rd Century technology, yet by the 24th Century something seemed to have changed, making time travel far more difficult.

Did La Sirena travel back in time by slingshotting around the sun?

This could also have potential consequences for Discovery – a ban on time travel was introduced sometime prior to the 32nd Century following an event called the Temporal Wars. I don’t expect Picard Season 2 to tie into this in any major way, but it will certainly be interesting to see how the process of traveling through time is depicted in the show, considering the potential ramifications it could have elsewhere in the franchise. As I’ve already suggested, the Borg Queen may be connected to time travel technology as well, and may somehow facilitate La Sirena’s trip back in time.

This moment also seems to depict La Sirena’s slingshot manoeuvre.

I caught a very brief glimpse of a couple of guards or soldiers – possibly from the alternate timeline 25th Century – who seemed to be in the early stages of Borg assimilation. There could be more of a Borg aspect to the story of the season than has been teased thus far, and we could see, for example, the Borg Queen escape her confinement and go on an assimilation spree. If she isn’t the one responsible for assimilating the individuals shown, it raises the question of who is! Could other Borg be part of the story of the season? Is the trip back in time an attempt to prevent a Borg attack on the Federation at the dawn of the 25th Century? It’s also possible that the individuals shown are inhabitants of 21st Century Earth, and that they were assimilated in that time period. Or, of course, I’m wrong about the whole assimilation thing and these are just soldiers/guards!

Who’s this, and why does it look like he’s in the early stages of being assimilated?

Sticking with the Borg, we also got a slightly extended look at Elnor bathed in an eerie green light – something we associate with the Borg. I speculated last time that this scene could be taking place after Elnor has been attacked by the Borg Queen, and may be in the very early stages of assimilation. We didn’t see the consequences of his injury, but he appears to be in a great deal of pain.

We got a slightly extended look at Raffi and Elnor.

The Borg Queen appears to be on the loose at least once, in a shot of her with Dr Jurati. The two of them were crawling on the ground, and Dr Jurati appeared to be wielding some kind of blunt object to defend herself. This looked like it was taking place aboard La Sirena, as the ship’s engine could be seen in the background.

The Borg Queen and Dr Jurati.

Dr Jurati’s love of all things synthetic may come into play with the Borg Queen – something I theorised about last time. Could she be tricked, manipulated, or just talked into setting the Borg Queen free – or even helping her? After Dr Jurati’s brainwashing in Season 1 led her to commit murder, it would be quite the follow-up if in Season 2 she unleashed the Borg Queen on La Sirena’s crew! But this could account for the Borg Queen escaping, the potentially-assimilated humans on Earth, and even Elnor’s injury.

A close-up of the Borg Queen with La Sirena’s engine in the background.

Season 2 has certainly teased us with a Borg connection! I had some half-formed Borg theories that I planned to write up, but when we learned more about time travel in one of the earlier trailers I put them on the back burner because the main thrust of the story seemed to be going in a different direction. While it doesn’t seem like the entire season will be all about the Borg, their influence – and that of the Borg Queen in particular – may be significant. Using Dr Jurati’s connection and love for synthetics to tee up this story could be interesting – but it will certainly need to be handled delicately! Dr Jurati is already a character we as the audience may mistrust based on what happened in Season 1; having her be the driving force behind unleashing the Borg, even accidentally, could take her to a familiar thematic place, one that could prove to be very difficult to write her out of in future stories.

Is Dr Jurati going to form a connection with the captive Borg Queen?

Brent Spiner made an appearance in the trailer – and seemed to receive a strange glowing blue vial of something from Q. I’m going to posit that this character is not Altan Inigo Soong, the son of Data’s creator who we met in Season 1. Instead, I believe that this could be a brand-new character, perhaps another Soong ancestor who’s native to the 21st Century. We also glimpsed this character very briefly while Picard’s voiceover was talking about “moments upon which history turns” at the beginning of the trailer, and in that scene he might’ve had a facial scar.

Brent Spiner is back – but who is this character?

If it’s true that this character is a 21st Century native, it seems that he may be involved – somehow – in the event that changes the timeline. Past iterations of Star Trek, most notably Enterprise, told us a little more about the history of human augmentation and the Soong family’s involvement with it. If Picard is going to stick closely to past canon, perhaps this member of the Soong family is working on augments, and Q has provided him with something to assist in that work – perhaps even something derived from Borg technology.

A mysterious blue vial…

This could explain the “totalitarian state” that seems to have replaced the Federation by the 25th Century. If a dictatorship of human augments – like Khan – rose to power instead of United Earth, perhaps that government later evolved into the Mirror Universe-inspired fascistic replacement for the Federation that we saw in more detail in the previous trailer. We know from past iterations of Star Trek – including Star Trek Into Darkness a mere decade ago – that Khan would have established this kind of dictatorship had he remained in the 20th Century; perhaps this is the “single change” that the Borg Queen says is “vastly more dangerous than you realise!”

A second look at Brent Spiner’s character. Is he sporting a facial scar, or is that just a trick of the light?

At one point we caught a glimpse of a human boy, seemingly wearing modern clothing, encountering a Vulcan or Romulan. As far as we know, there shouldn’t be Vulcans on Earth in 2024 – so this could also, somehow, be connected to the changed timeline. Season 1 used mind-melds to spread brainwashing and visions of the Zhat Vash prophecy, most notably to Dr Jurati and Sutra, so there could be a connection there – somehow. This sequence, showing the boy walking alone through a wooded area in the dark, gave me Flight of the Navigator vibes for a moment!

The human boy walking through the woods…
…and the mysterious Vulcan or Romulan that he encounters.

A new character who seems to have glowing white or silver eyes was seen very briefly with Admiral Picard. As far as I can tell, this character is brand-new and doesn’t belong to any known Star Trek race or faction. This scene seemed to be taking place in the 21st Century (based on what’s in the background), but that doesn’t exactly provide us with much of a clue! I would say that Picard seemed not to be bothered by his presence; had he simply not noticed him, or is this a newfound friend?

Who’s this chap?

There was a shot of what looked like the interior of a 24th Century Starfleet ship suffering major damage. This could be one of the ships that La Sirena was seen engaging, but it could also be something from the past – perhaps even the USS Stargazer, as a model of that ship was shown off in the very first Season 2 teaser. Silly as it may sound, it was really neat to see the familiar Starfleet design of a hallway or room with angled walls. This design, which debuted with The Motion Picture, became synonymous with Starfleet ships throughout The Next Generation era, and it’s one of those little touches within Star Trek that makes the franchise feel like “home!”

A Starfleet vessel suffering major damage.

I could be wrong with this, but a shot of what I think might be a Starfleet officer being blown up at a console might’ve been filmed on one of the Discovery sets; it just looks like that from the set decoration on the left. The console looks 24th Century in its design, and in the background we could very briefly see an Okudagram that looked like it could represent a Miranda-class or possibly a Nebula-class vessel.

An officer at an exploding console…
…and the Okudagram behind them. Is that a Miranda-class or Nebula-class ship?

Something important was again reiterated in voiceover: whatever is happening to the timeline is connected in some way to a significant event in Picard’s own past. “A moment on which history turns” is how the trailer described this event – and my inclination at this stage is to say that it’s probably something brand-new to Star Trek rather than something we’ve seen or heard about before.

How does Picard fit into all of this?

There are moments in Picard’s past that we could look at as major historical events: assuming command of the USS Stargazer, defeating the Ferengi, encountering Q, his assimilation by the Borg, solving the anti-time puzzle, defeating the Borg in First Contact, defeating Shinzon, and preventing the super-synths’ arrival last season. But none of these moments, if changed, could lead to anything like what we see in the trailer. That’s why I think we must be dealing with something new.

What is the moment in Picard’s past that haunts him, and how will it play into a story about Q, time travel, and the Borg?

Sticking with this, Picard’s voiceover also said that this moment was something that “haunted” him for all of his life. It could be an event we’re familiar with from The Next Generation – like his assimilation – but it’s an odd choice of words if that’s the case. Maybe I’m overreaching, but I think the way that this was phrased implies that it’s something from deep in his past, perhaps his childhood but certainly long before he assumed command of the Enterprise-D.

Will an event from Picard’s life prior to The Next Generation prove to be connected to the season’s story?

It can be tricky, when dealing with a long-established character, to add brand-new backstory, particularly if it’s some hugely significant revelation about their past. If Picard Season 2 is going to go down this route, it’s definitely something that will have to be handled with care so it doesn’t come across as being too convenient or contrived for the sake of the new story.

Picard outside Guinan’s bar.

It was certainly neat to see several Federation (or “totalitarian state,” perhaps) starships in the trailer – but why were they firing at La Sirena? I couldn’t be absolutely sure, but one of the three ships in pursuit looked like a Nova-class ship, a design most famous for its inclusion in the Voyager two-parter Equinox. Described as a short-range science vessel in that story, this Nova-class (if indeed that’s what it is) seems to be more of a warship – or has at least been significantly upgraded!

What I believe to be a Nova-class ship seen from behind…
…and from the front, firing on La Sirena.

La Sirena has also been changed – perhaps by the shift in the timeline. Gone is the red “hot rod” livery that we saw in Season 1, replaced with a silver-grey metallic colour similar to other starships. We saw La Sirena engaged in at least one dogfight and pulling off some very acrobatic moves!

La Sirena seems to have gotten a new paint job!

There was a briefly-seen green light that illuminated La Sirena’s engine – I wonder if this could indicate that the ship has been fitted out with Borg technology, perhaps to facilitate the journey back in time. Green is, as mentioned, a colour strongly associated with the Borg, and green light in particular is a hallmark of Borg vessels and Borg technology.

La Sirena’s engine lit up in green.

After the timeline shifts, Picard seemed to find a painting of a different starship in his study, replacing the familiar Enterprise-D painting that we’d seen in his ready-room in The Next Generation – and in the first teaser for Season 2. This ship could be an alternate-timeline Enterprise, but it’s clearly a different design to the Galaxy-class, with a cut-out in its saucer section, different nacelles, and seemingly a lot more phaser banks!

Picard’s new painting.

It looked like this ship was engaged in a major battle, and this could be related to the interior shots of a ship under fire mentioned earlier. I think that the painting depicts the ship destroying one or more Borg vessels based on the size and colour of the debris seen around it, so perhaps this is the new timeline’s version of an event like the Battle of Wolf 359 or the Battle of Sector 001.

Is this a depiction of a Borg vessel?

We caught a glimpse of what seems to be 25th Century Earth in the trailer, protected by a shield grid that was not unlike the one seen in Discovery’s 32nd Century. Moments of symmetry between Picard and its sister show were rare in Season 1, and while I don’t think this really counts in a big way, it was still interesting to see the same basic idea being used in both shows – albeit in different contexts.

Earth with a shield grid in the Picard trailer…
…and the planet protected by another shield grid in Discovery Season 3.

We didn’t see much from Soji in the new trailer at all, and the clips we got of Raffi, Rios, and Elnor didn’t really seem to tell us much about the direction of any of these characters in the upcoming season. A few of the shots we got with each of them seemed to be extended or different angles of things we’d already seen in prior trailers: Seven of Nine at the wheel of a police car and waking up without her implants, Raffi and Elnor dealing with Elnor’s injury and again escaping through a marketplace while being fired upon, Dr Jurati interacting with the Borg Queen, and so on.

Rios and Seven (with Raffi in the background).

Keeping a tight lid on some of the season’s characters and mysteries is no bad thing, of course! This trailer was really here to showcase Guinan’s return, and thus it focused more on Guinan and Picard, with teases of the Borg Queen, Q, and Brent Spiner’s character. These clips perhaps came at the expense of seeing more from the new characters; Picard Season 2 will have to get that balance right and not give too much weight to returning characters from The Next Generation when it premieres in a few weeks’ time. As I said in 2020 in the run-up to Season 1: I’m not here for The Next Generation Season 8, and I want to give all of the new characters lots to do and a chance for each of them to become fan-favourites that we’re all excited to see return to the franchise thirty years down the line!

Rios on the bridge of La Sirena.

So we caught a glimpse of some of the upcoming season’s interesting moments – but we’re still a long way from figuring out what’s going on! Season 1 kept us guessing all the way to the finale, and I expect that Season 2 will follow a similar pattern, not showing us all of the story elements right away.

I have a few half-baked theories about the role Q might play in the upcoming season, the Borg Queen, and perhaps about Picard’s possible connection to all of this, so stay tuned. Between now and the season premiere some of them may get the full write-up treatment! For now, I think we’ve spent more than enough time talking about a trailer that was less than two minutes long! I enjoyed this trailer a lot more than the last one, and while I’m still not wild about a story where visiting the modern world is an important element, there’s nevertheless a lot to look forward to.

Q.

Right now I’m curious to see what roles the crew of La Sirena will have to play in all of this. Whatever changed the timeline left them untouched – and we don’t know why that may be. Are they the only ones who are aware of what happened? I have a lot of questions – but very few answers right now!

After the debacle around Discovery’s fourth season, it was good to see that (at this stage, anyway) an international broadcast on Amazon Prime Video is confirmed for Picard Season 2. Amazon’s social media channels have picked up the new trailer internationally, which is a good sign – but I’ll be at least a little worried until the premiere has officially arrived on Prime Video.

So I think that’s all I have to say about this one. It was an exciting, action-packed trailer that showed us just enough of the new season to jump-start the hype train. I hope that Picard Season 2 will deliver an engaging story when it debuts in a few weeks’ time.

Star Trek: Picard Season 2 will premiere on the 3rd of March 2022 on Paramount+ in the United States, and on the 4th of March on Amazon Prime Video in the rest of the world. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Microsoft buys Activision Blizzard

Well that certainly came out of nowhere! Microsoft has opened its wallet once again, this time buying up massive video games publisher Activision Blizzard for a whopping $69 billion. Nice.

After receiving criticism during the previous console generation for the lack of exclusive games on its Xbox One system, Microsoft has stepped up in a big way in the last few years. Early moves brought on board companies like Obsidian and Rare, and then last year came another shock announcement: the acquisition of ZeniMax – the parent company of Bethesda. All of those laid the groundwork for something big, and Microsoft has now added Activision Blizzard to its lineup, bringing on board hugely popular games and franchises like Call of Duty, Overwatch, World of Warcraft, and even popular mobile game Candy Crush.

Microsoft will soon own Candy Crush!

At almost ten times the price of its Bethesda purchase, Microsoft clearly has big plans for Activision Blizzard and its games. Even by the standards of other corporate takeovers, $69 billion is a lot of money – an almost unfathomable amount. As Microsoft looks to expand its Xbox and PC gaming platforms, though, it makes a lot of sense to bring on board a company like Activision Blizzard.

Keep in mind that Microsoft is currently pushing hard to take gaming as a whole in a new direction, pioneering a subscription model based on the likes of Netflix – indeed, Game Pass was originally pitched as the video game equivalent of Netflix. Though on the surface the company seems to be taking a two-pronged approach, with its Xbox home console family and PC gaming being separate, in many ways that isn’t really the case any more. Microsoft’s goal is to bring these two platforms as close together as possible, offering most games to players regardless of their chosen platform. One need only look to two of the biggest releases of the past year as an example: both Halo Infinite and Forza Horizon 5 came to both Xbox and PC, despite originally being franchises that were exclusive to consoles.

Forza Horizon 5 was a massive title for both Xbox and PC – and came to Game Pass on release day.

Let’s step back for a moment. My initial reaction to this news was disbelief! But after double-checking my sources and confirming that this was, in fact, not some kind of elaborate prank, my next thoughts were of the Activision Blizzard scandal, and how from Microsoft’s point of view this may not have been the best time to announce this acquisition.

There’s no denying that Activision Blizzard is a tainted brand in the eyes of many players, with the severity of the sexual abuse scandal cutting through to make the news in mainstream outlets when it broke last year. Perhaps somewhat counter-intuitively, the scandal is part of the reason why Microsoft may have felt that the timing was right – Activision Blizzard shares had lost basically a third of their value over the last few months (down from almost $100 per share to below $65 prior to the acquisition announcement). Microsoft arguably made a savvy deal in some respects.

Activision Blizzard is a company embroiled in scandal right now.

There also seems to be a sense from at least some quarters of the gaming press and gaming community that Microsoft is “swooping in” to save Activision Blizzard from the scandal, perhaps even preserving the jobs of some employees or protecting games and franchises from cancellation. I didn’t really expect this reaction, and while it’s safe to say there’s been plenty of criticism to balance out some of the positivity, overall the mood of players seems to be more in favour of this acquisition than opposed to it.

We should talk about exclusivity before we go any further. Despite the hopeful – almost desperate – claims being made in some quarters, Microsoft isn’t going to publish Activision Blizzard titles on PlayStation forever. Once the deal has gone through and existing contracts have been fulfilled, expect to see all of Activision Blizzard’s new titles and big franchises become Xbox, PC, and Game Pass exclusives.

Starfield is a highly-anticipated Bethesda title – and it will be an Xbox and PC exclusive following Microsoft’s acquisition of Bethesda.

This is exactly what happened with Bethesda. Some players clung to the argument that Microsoft somehow wouldn’t want to limit the sales of some of these games to Xbox and PC players only, with some even going so far as to claim that we were witnessing the “death of console exclusives.” That hasn’t happened (to put it mildly) and we’re now expecting massive games like Starfield to become Xbox, PC, and Game Pass exclusives.

When Microsoft first jumped into the home console market in 2001 with the original Xbox, a lot of games industry critics and commentators argued that the company would open its wallet and spend, spend, spend in order to compete with the likes of Sega, Nintendo, and Sony. Microsoft certainly made some sound investments in games early on, but it’s really taken almost twenty years for some of those concerns to be borne out – and by now, the gaming landscape has so thoroughly shifted that it doesn’t feel like a bad thing any more.

It’s been more than two decades since Microsoft jumped into the home console market.

When Microsoft announced the acquisitions of the likes of Oblivion, Rare, and even Bethesda, there was still a sense that the games industry was pursuing its longstanding business model: develop games, release them, sell them, turn a profit, repeat. But now I believe we’re actually in the midst of a major realignment in the way the entire games industry operates – a realignment that’s shaping up to be as disruptive as Netflix’s emergence as a streaming powerhouse in the early 2010s.

Microsoft isn’t making all of these big purchases just to make games and sell them individually. That approach will remain for the foreseeable future, of course, but it isn’t the company’s primary objective. In my view, this is all about Game Pass – Microsoft’s subscription service. Microsoft has seen how successful the subscription model has been for the likes of Netflix – but more importantly for the likes of Disney with Disney+.

Disney+ is both an inspiration and a warning for Microsoft and Game Pass.

As streaming has become bigger and bigger in the film and television sphere, more companies have tried to set up their own competing platforms. In doing so, they pulled their titles from Netflix – something we saw very recently with Star Trek: Discovery, for example, which will now be exclusively available on Paramount+. Microsoft is not content to simply license titles from other companies – like Activision Blizzard – because they fear that a day is coming soon when other companies try to become direct competitors with their own platforms – muscling in on what Microsoft sees as its turf. If Sony gets its act together and finally manages to launch a Game Pass competitor on its PlayStation consoles, Microsoft will be in an out-and-out scrap, and pre-empting that fight is what acquisitions like this one are all about.

If Netflix had had the foresight to use a portion of the money it had been making in the early 2010s to buy up film studios or television production companies, it would have lost far fewer titles over the last few years, and wouldn’t have needed to pivot so heavily into creating its own content from scratch. I think that the Activision Blizzard deal is one way for Microsoft to shore up its own subscription service ahead of a potential repeat of the “streaming wars” in the video game realm.

The official announcement image.

So it isn’t just about “more games for Game Pass” – this deal is about Microsoft’s vision for the future of gaming as a medium, and also their concerns about other companies trying to elbow their way in and become serious competitors. Spending $69 billion may be a huge financial hit up front, but if it pays off it will mean that Game Pass will remain competitive and profitable for years – or even decades – to come. That’s the attitude that I see through this move.

And I don’t believe for a moment that Microsoft is done. Activision Blizzard may be the company’s biggest acquisition to date, but it won’t be the last. When the deal is done and has officially gone through – something that most likely won’t happen for at least twelve months – expect to see Microsoft lining up its next big purchase, and it could be yet another games industry heavyweight. There have been rumours in the past that Microsoft had considered making a move for Electronic Arts, for example… so watch this space!

Could another big purchase be on the cards in the next couple of years?

As a player, these are exciting times – but also turbulent times. I increasingly feel that it’s hardly worth purchasing brand-new games, because several massive titles that I’ve spent money on have ended up coming to Game Pass. In the last few days the Hitman trilogy has arrived on the platform, Doom Eternal landed on Game Pass last year, and even Mass Effect: Legendary Edition is now on the platform less than a year after its release. What’s the point in buying any new games any more? Let’s just wait and it seems Microsoft will eventually bring them to Game Pass!

This is, of course, an attitude Microsoft wants to foster. If Game Pass is an appealing prospect, players will stop buying games. Once they’re “locked in” to the Game Pass ecosystem, Microsoft thinks it’s got them for the long haul. This is how Netflix, Disney+, and other streaming platforms view their audiences, too: once someone has been hooked in, they tend to stay hooked in. That’s why they put the majority of their time and energy into recruiting new subscribers rather than ensuring current subscribers stay signed up.

This is all about Game Pass.

So it’s an interesting moment in gaming, and one that has the potential to herald an entirely new chapter in the medium’s history. People who decry the death of buying individual titles increasingly feel like they’re on the losing side; relics of an era that’s rapidly drawing to a close. Subscriptions have basically become the norm in film and television, with sales of DVDs, Blu-rays, and the like in what seems to be terminal decline. Television viewership, along with cable and satellite subscriptions, are likewise declining.

And who really feels that the death of broadcast television is something to mourn? Subscription platforms offered viewers a better deal – so they snapped it up. If Game Pass can do the same for gaming, more and more players will jump on board.

The Call of Duty series will soon join Game Pass.

Speaking for myself, I’ve been a subscriber to the PC version of Game Pass for almost a year-and-a-half. In that time, my subscription has cost me £8 per month ($10 in the US, I think). Call it eighteen months, and that’s £144 – or roughly the same amount of money as three brand-new full-price video games. In that time I’ve played more than three games, meaning Game Pass feels like a pretty good deal. If Microsoft continues to splash its cash on the likes of Activision Blizzard, bringing even more titles to the platform without asking me to pay substantially more for my subscription, then as a consumer I gotta say it’s worth it.

One corporate acquisition on its own does not irreversibly shift the gaming landscape. But we’re on a trajectory now that I believe will see gaming move away from the old way of doing business into a new era where subscriptions will be a dominant force. There will be advantages and disadvantages to this, but I don’t see it slowing down. As the likes of Sony and even Nintendo try to compete with Game Pass, if anything we’re likely to see this trend speed up.

Watch this space – because this certainly won’t be Microsoft’s last big move.

All titles mentioned above are the copyright of their respective studio, developer, and/or publisher. Some promotional screenshots courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

A whole host of Star Trek updates and renewals… but trust in ViacomCBS is still hard to come by

Spoiler Warning: There may be minor spoilers ahead for the Star Trek franchise.

Yesterday we got some fantastic news about the direction of the Star Trek franchise over the next couple of years. I’m sure you’re already aware of all of it, but just in case, here are the key announcements in brief:

  • Star Trek: Discovery has finally been renewed for a fifth season.
  • Star Trek: Picard Season 2 will premiere on the 3rd of March.
  • Star Trek: Strange New Worlds will premiere on the 5th of May.
  • Star Trek: Strange New Worlds has been officially renewed for Season 2.
  • Star Trek: Lower Decks Season 3 will premiere this summer.
  • Star Trek: Lower Decks has been renewed for Season 4.
  • Star Trek: Prodigy Season 1 will take a break when Discovery returns, before broadcasting the second half of the season later in the year.
  • Star Trek: Prodigy has been officially renewed for Season 2.

All of these announcements take the Star Trek franchise well into 2023, and when you add into the mix the as-yet-untitled 2023 film as well, there’s a massive amount of content to come over the next couple of years. It seems as though scarcely a week will go by without at least one new Star Trek episode premiering throughout all of 2022!

This is all unequivocally good news. Star Trek has made an absolutely triumphant return to the small screen since Discovery premiered in 2017, and the franchise has grown beyond my wildest hopes and most optimistic expectations in a scant five years. I hope that this is just the first phase of a new Golden Age, with more Star Trek on our screens taking us to the franchise’s sixtieth anniversary in 2026 – and beyond.

But it hasn’t been a smooth ride for Trekkies in recent weeks, especially for those of us who live outside of the United States. Star Trek: Prodigy is well into its first season for American viewers, but the rest of the fanbase hasn’t been able to see so much as a single episode – at least not via “conventional” means. This is despite Prodigy being a co-production between CBS Studios and Nickelodeon; the latter being a kids’ television channel that is available in more than 70 countries and territories around the world and is wholly owned by ViacomCBS. Surely a Prodigy international broadcast should have been possible – yet the corporation running Star Trek has consistently chosen to prioritise its American audience ahead of fans in the rest of the world, even when doing so makes no sense.

The same situation initially befell Discovery’s fourth season, when an insultingly-worded, awfully-timed announcement saw the series pulled from Netflix with 48 hours to spare. It was only thanks to the huge backlash that ViacomCBS received, leading to a significant fall in the corporation’s share price, that Discovery was shopped out to Pluto TV, Amazon, YouTube, and other platforms. Fans won in the end – but it was a battle that we should’ve never needed to fight.

At the time of the Discovery disaster, I wrote a piece here on the website in which I asked a difficult question: what might the situation and the precedent it had set mean for future Star Trek productions, including those shows that have just been renewed or had premiere dates announced? You can check out the full article by clicking or tapping here, but to briefly summarise: I am not optimistic that the painfully slow rollout of Paramount+ can be sped up, nor that shows like Strange New Worlds will be granted an international broadcast at all.

ViacomCBS is a poorly-managed corporation with leaders and executives who seem utterly incompetent – or who are dusty old relics, ill-suited to a 21st Century media landscape. The lack of care and preparation with which the Star Trek franchise is being handled is indicative of this, and the franchise lags far behind old rival Star Wars in many areas. Where are, for example, 4K HDR episodes? This is something Star Wars has been doing since 2019 with The Mandalorian, and many other television shows on Amazon, Netflix, and Disney+ are now streaming in 4K HDR. Where are the toys that should have been available in time for Prodigy’s debut? And, come to that, where’s the rest of the Star Trek merchandise for other shows?

These are just a couple of examples of how the Star Trek brand is being mismanaged by ViacomCBS, and unfortunately the breach of trust between the corporation and a sizeable chunk of its fanbase means that the plethora of announcements made yesterday are, at the very least, seen through a new lens. At worst they’re completely tainted, with excitement and hype replaced with either apathy or anxiety as fans ask whether we’ll be able to watch any of these new shows and new seasons – and if we can’t, why should we care?

Since I created this website in 2019, I’ve reviewed every Star Trek episode that has been broadcast – except for Prodigy. Why? Because ViacomCBS deliberately chose not to make Prodigy available here in the UK (by lawful means, at least) despite owning and operating the UK version of the Nickelodeon channel and thus having the ability to do so with ease. When a corporation behaves in such an insulting manner, I feel it’s difficult to support practically any announcement or project that they have going on.

It will take time – and most importantly, a significant amount of effort from ViacomCBS – to repair the breach of trust between the corporation and Trekkies. And while these announcements are exciting, I can’t bring myself to fully board the hype train, not until we have more information about how and when these shows are going to be made available.

Here are several key questions that ViacomCBS needs to address in pretty short order:

  • When will Paramount+ be available here in the UK?
  • Are there any plans to make Paramount+ available in Asia, Africa, and other regions?
  • If there are no plans to roll out Paramount+ in a particular country or territory, will these new Star Trek shows be available via some other broadcaster?
  • Will new episodes of Star Trek be available on Paramount+ outside of the United States, or will the international version of Paramount+ delay the broadcast of some or all of these episodes (as initially happened with Discovery Season 4 in Australia, Latin America, and Scandinavia)?
  • Can you offer fans a guarantee that Picard Season 2 and Lower Decks Season 3 will be broadcast on Amazon Prime Video this year?
  • Will Paramount+ be available internationally in time for Strange New Worlds Season 1?
  • If not, will Strange New Worlds be available on another broadcaster or platform outside of the United States?

I love Star Trek. Heck, I run a Star Trek fan website – and in my small way I offer ViacomCBS free publicity and advertising by talking and writing about the franchise in my free time. But I can’t blindly support a corporation that has continually taken decisions that harm Star Trek’s international fans, and until ViacomCBS is willing to answer some of the questions fans are rightly asking about the availability of upcoming productions, it’s going to remain difficult for any of us to fully get on board and be as excited as we want to be.

ViacomCBS needs to get a grip and put real effort into accelerating the international rollout of Paramount+. If Paramount+ isn’t going to be available in time, then the corporation needs to make plans to ensure international Trekkies can watch the likes of Strange New Worlds at the same time as fans in the United States. Star Trek is not an American entity, solely the preserve of American fans. ViacomCBS and its predecessors encouraged the creation of a global fanbase because they saw profit overseas – but that fanbase has been bruised by a slew of poor corporate decisions that have damaged the reputation of Star Trek and Paramount+, and which have unfortunately seen shows like Lower Decks underperform.

As Star Trek gears up for an exciting couple of years, the team in charge has a lot of work to do to rebuild trust between ViacomCBS and Trekkies. Star Trek’s long-term success depends on fixing the problems of the past couple of years and getting things right going forward. I’m interested to see how ViacomCBS will respond – and willing and able to hold their feet to the fire if they continue to get it wrong.

The Star Trek franchise – including all properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The pros and cons of filming back-to-back

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1.

After a short pandemic-enforced break, Star Trek: Picard Season 3 resumed filming a few days ago. Production on the show’s third season has been underway for a while, and was officially announced back in September during the franchise’s Star Trek Day digital event. The interesting thing about Picard Season 3 being so far along in its production is, of course, that Season 2 has yet to be broadcast. This got me thinking about some of the benefits and potential pitfalls of filming back-to-back in this fashion, and that’s what we’re going to talk about today.

There are some great examples of productions that were filmed back-to-back. The Lord of the Rings trilogy of films has to be one of the best examples of this: all three films were shot together in New Zealand, though post-production work and editing continued after the first and second films had premiered. The Lord of the Rings is held in very high esteem even twenty years after it premiered, and is rightly credited with bringing the high fantasy genre to mainstream audiences, paving the way for titles like Game of Thrones.

The Lord of the Rings trilogy was hugely successful in the high fantasy genre.

Being shot back-to-back worked well for The Lord of the Rings then, clearly! The Return of the King – the third and final part of the trilogy – swept the board at the Academy Awards in 2004, picking up a record-equalling eleven Oscars.

In the case of The Lord of the Rings, the practicalities of production meant that shooting all three films together made sense. New Line Cinema had greenlit the entire trilogy and was expecting it to be a success, and the difficulties of setting up production in New Zealand – as well as having the actors travel there – all came together to make filming the entire project at once a practical and sensible approach to production. From the earliest days of pre-production, New Line Cinema intended to do things this way.

Whether in cinema or on television, there are advantages to filming back-to-back. There’s far less of a chance that characters will look noticeably different from one part of the story to the next, for example, as everything from costuming to makeup and even haircuts or simply ageing will not be factors that impact production. Keeping the same behind-the-camera crew will also allow for a consistent production that keeps the same cinematographic style. It makes it easier to go back and re-work parts of the story, if necessary – for example, if a writer or director felt the need to add a scene foreshadowing the ending, or even to change the entire end of the story to better fit what had come before.

There are advantages to back-to-back production.

But there can be drawbacks to this approach, pitfalls that can be very difficult to avoid even with good preparation and the best of intentions. And there’s one reason in particular why Star Trek: Picard kicked off this discussion for me.

Star Trek: Picard started with an episode that’s probably the best series premiere in the history of the franchise, surpassing even Deep Space Nine’s Emissary – the previous high-water mark. Over the course of the next few episodes, its story unfolded slowly and seemed to be building up to an exciting climax. Unfortunately, though, the season stumbled as it approached the finish line, with the first half of its two-part finale in particular being a real disappointment. The way the season eventually ended left several storylines unresolved and at least one gaping plot hole. To be blunt, the finale was weak – and it’s important that the writers and producers receive that feedback and take it on board.

I’m not the only person to have criticised the way that Star Trek: Picard Season 1 ended; the two parts of the season finale are the worst-rated episodes of the show according to review aggregator Rotten Tomatoes.

The Season 1 finale of Star Trek: Picard was by far the weakest part of the story.

So what’s the point of bringing this up? Well, it’s simple: filming back-to-back, as is now happening with Seasons 2 and 3 of Picard, means that the show’s writers and producers will have far less of a margin for error; they’re much more constrained and less able to make changes based on critiques and audience reactions.

Set aside any thoughts you might have about “artistic integrity” or the “vision” of a production’s writers, producers, and directors. In the real world, with very few exceptions films and television shows are adapted – and in some cases changed entirely – based on the way audiences respond to them. This is why practically every film and television series is shown to test audiences before they premiere. Doing so can give production companies the chance to make last-minute adjustments, make cuts, or even rework entire sequences.

ViacomCBS will not have ignored the reviews and discussion surrounding Picard Season 1 and its finale. Those criticisms will have been absorbed by the corporation, and I wouldn’t be surprised if they mandated changes to the story of Season 2 as a result, even if such changes may be relatively minor. Just to pick on one example, the story of main character Narek, which was dropped without a resolution part-way through the finale, might be something that the team in charge of the show insist that Season 2 clarifies.

Narek’s story was just one of several major elements that the season finale failed to pay off.

But if there are issues with Season 2 – whether they’re to do with story, art style, visual effects, etc. – it will be much harder, and much more expensive, to make any changes to Season 3. In all likelihood, Season 3 will wrap up its main phase of production before Season 2 even premieres, and while post-production work and pick-up shoots offer some opportunities to make changes, those opportunities are limited. If a film or series has been ready to go for a year or more, going back to film extra scenes can be tricky; it can be very easy to tell which scenes and shots were filmed and added in later, even in productions with high budgets.

In short, because Picard Season 1 had some very particular and noteworthy issues with its finale, I’m at least a little concerned about the direction of the series heading into Seasons 2 and 3, and the fact that the seasons are being shot back-to-back heightens that. Had Season 1 ended with a stronger finale, perhaps I’d be less concerned. But unfortunately it didn’t – and that leaves the show in a strange place for me. I’m genuinely excited to spend more time with Admiral Picard and the crew of La Sirena, but I’m at least a little anxious about the way the show’s production is being handled.

Where will the admiral and his crew go next?

In a way, this is something we may have to get used to as the pandemic rumbles on. Had it not been for covid and its associated lockdowns in California, it would’ve been possible for production on Picard Season 2 to get underway far sooner, potentially meaning that there’d have been no need to film the second and third seasons back-to-back. But the pandemic continues to be a disruptive force across the world, so productions may have to get used to working when they can and taking breaks when they must – at least in the short-to-medium term.

In some cases it won’t matter. In others, filming back-to-back can provide significant advantages. But there are potential drawbacks to this way of approaching a major production, not least the difficulty in going back and making changes based on audience and critical feedback. It’s the latter point that concerns me when it comes to Star Trek: Picard, and that’s due to the weak ending to an otherwise excellent first season. Perhaps in the days ahead we should go back to the two parts of Et in Arcadia Ego and re-examine what went wrong – as well as looking at what the season finale got right. If I forget, remind me! For now, you can check out the reviews of both episodes on my dedicated Star Trek: Picard page.

The Lord of the Rings trilogy is the copyright of New Line Cinema and/or Warner Bros. The Star Trek franchise – including Star Trek: Picard – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

We can abolish the TV license – but only if the government stops whining about “bias”

For the first time in a long time – possibly for the first time ever – the UK has a government willing to consider something that had previously been unthinkable: abolishing the hated and outdated television license. Their reasons for bringing up the issue at this precise moment may be questionable, but the policy itself is not. Since the turn of the millennium at least, support for abolishing this hated, regressive tax has only grown, and it’s now one of the most consistently popular policy positions in the entire country.

I’m not a political ideologue. I’m not wedded to one political party nor to a specific ideology, and I’ve voted for practically all of the UK’s major political parties at one time or another over the years. Though I seldom find myself on the same side of the argument as the likes of Nadine Dorries (the current Secretary of State for Digital, Culture, Media and Sport, within whose brief the BBC and the license fee fall) I’m happy to see that, finally, a British government is bold enough to swing the proverbial axe and finally bring an end to this utterly outdated method of funding a television broadcaster.

Official portrait of Nadine Dorries, the Secretary of State for Digital, Culture, Media and Sport.

But the government is going about this in quite literally the worst way possible, putting forward their least convincing and most polarising argument. This is a cause for concern, because if the ineptitude of people like Nadine Dorries creates an increase in support for the BBC and the television license, the best chance we’ve ever had to abolish the damn thing will be lost. The government, through nothing short of abject stupidity, will have blown the country’s best chance to bring an end to an expensive anachronism, one which isn’t fit for purpose any more. And that would be a travesty.

Before we go any further, a quick reminder on what the television license actually is and how it works. Anyone who watches television in the UK – including some live broadcasts streamed online – is required by law to purchase a television license. The money collected by this tax – and it is a tax, no matter what some may claim – funds the British Broadcasting Corporation, more commonly known as the BBC. The BBC uses this money to pay its way, producing television programmes like Strictly Come Dancing, Doctor Who, Match of the Day, and many more. Failure to pay the television license, even on legitimate grounds, leads to harassment from the BBC’s scarily-named “enforcement division,” who try to act like bailiffs and will even show up at your house to harass you in person. Even if someone never watches any BBC programmes – which, in the days of 500+ satellite and cable television channels is increasingly likely – they’re still forced to pay the tax.

An example of a threatening letter from the TV Licensing organisation.

The television license is, unlike income tax, a regressive tax. Because the fee is the same for everyone, regardless of income or ability to pay, it impacts poor people and those on low or fixed incomes hardest, and while it isn’t the only tax in the UK that behaves this way, it’s by far the most egregious. At the current rate of £159 per year – $217 USD at time of writing – it’s borderline unaffordable for low-income households, especially with a growing cost of living crisis sending food prices, energy bills, and the cost of practically everything else skyrocketing.

This isn’t the first time I’ve brought up the television license here on the website. Almost two years ago I first laid out my argument against this regressive tax, and before we press ahead I think we should recap why I feel the TV tax needs to be scrapped. Firstly, and most importantly, the television license is simply out-of-date. There may have been a justification for this method of funding in the 1960s, but no such justification exists in the 2020s. The world of entertainment has simply moved on, with not only a veritable smorgasbord of television channels to choose from – over 100 of which are free-to-air for anyone with a television set – but also a growing number of subscription services like Netflix and Disney+, with others such as Paramount+ coming soon as well. Not to mention the internet itself and platforms like YouTube. The idea of insisting that every household pay a tax to fund one single television broadcaster is just plain outdated, especially considering that fewer and fewer people watch or engage with the BBC at all. Those days have come and gone.

There hasn’t been a justification for the television license since TVs looked like this.

Next, we have the nature of the tax itself. As mentioned, this is a regressive tax, one which hits poor and low-income folks hardest. As someone on a fixed income myself, I can attest to this. £159 may not sound like much to some people, but for many folks, that could be several months’ worth of disposable income. As inflation rises and prices for everything creep up, the license fee becomes increasingly unaffordable, especially as it’s pegged to rise in line with the government’s official measure of inflation.

Finally, let’s consider what the tax actually pays for: entertainment. The BBC runs a news operation too, and pays a lot of money to bureaucrats and managers in an inefficient fashion, but the bulk of the money raised goes on programmes like Strictly Come Dancing, Line of Duty, EastEnders, Doctor Who, Top Gear, Match of the Day… and the list goes on. What do all of these programmes have in common? They’re commercially viable – meaning that they could be produced by any other commercial broadcaster.

Taxpayers’ money is being used to produce soap operas, reality television, and many other mediocre entertainment products.

Take The Great British Bake Off as a case in point. The BBC used to pay for the show, but when they were outbid by Channel 4, the series retained its popularity and its audience on a different channel. It is simply not acceptable in 2022 that tax money, raised from millions of people who can’t afford to pay the inflated rates, is being used to fund mediocre entertainment programmes that can easily be made by other commercial channels and broadcasters.

This is the winning argument. When it’s explained to people in this way – that the television tax is inflated, unfair, and regressive – abolishing it is not just popular, it’s the only argument that makes any sense, and there really can’t be any counter-argument that isn’t just obfuscation or that tries to shift the goalposts. By sticking to arguments about the inherent unfairness of the tax and the fact that it’s utterly outdated in a modern media landscape, the government – and campaigners like me – will win.

Logo of the TV Licensing organisation.

But this isn’t the way that the current government is trying to go. By talking about “bias” within the BBC they come across as whining – and worse, they come across as trying to punish the organisation for not giving them kinder, more fawning coverage. It’s Trumpian in the extreme, with echoes of Trump’s famous “fake news” attack, which he levied at any journalist or broadcaster who dared question him or call him out.

By using the “bias” argument, the government is going to snatch defeat from the jaws of victory, further polarise the political discourse in the UK, and fail in its stated goal of reforming the way in which the BBC is funded. The current government is sufficiently unpopular right now that any organisation that they criticise is going to receive a boost in support and popularity. “The enemy of my enemy is my friend” – so goes the old adage, and so it will prove to be for many people in this country who would, all else being equal, remain opposed to the television license. But when they see the BBC under attack by an aggressive government, particularly as they seem to be launching this attack at this time to distract from other scandals, they’re far more inclined to support the BBC, and by extension the television license.

There’s a very real sense that the current government of Prime Minister Boris Johnson is using the TV tax issue to dodge or distract from scandals and other problems.

Abolishing the television license does not mean abolishing the BBC. The BBC has enough time between now and the end of its current charter in 2027 to find and implement a new funding method. Many folks have suggested a subscription model, with the BBC adopting an approach similar to the likes of Sky or Virgin Media. Others have suggested that the BBC could simply do what every other television channel does and run advertisements. It could even go online, offering a platform comparable to the likes of Netflix. In short, there are options for the BBC to continue to exist and continue to produce its content.

Popular brands and shows could also be auctioned off, and as programmes like The Great British Bake Off have already demonstrated, there are many broadcasters who’d happily snap up the most popular ones. They’d remain viable on other networks – and many would probably do even better on commercial channels or online.

The Great British Bake Off was bought by rival broadcaster Channel 4 a few years ago.

But again, the government’s ham-fisted, idiotic approach to this issue is going to wreck it. If they genuinely want to abolish the television license, they’re already messing it up by putting their worst argument front-and-centre. Claims of “bias” may resonate with some right-wingers, but that’s offputting to practically everyone else in the country. Instead of making this a unifying issue, one which could actually score the government some much-needed kudos, they’re instead managing to drive up support for the BBC and its outdated method of funding, and turning what should be an easy win into a disappointing defeat.

I firmly believe that the abolition of the TV license is only a matter of time. But it would be such a shame if the current government squanders this opportunity through sheer force of incompetence, allowing the vestigial tax to remain in place for years or even a decade longer than necessary. By deliberately turning the TV license into a political issue, Nadine Dorries and her ilk have polarised the debate, lost potential friends and allies, and weakened their own hand. Abolishing the TV license should be a progressive issue – it’s a regressive tax that disproportionately impacts low-income households. But by making it such a polarising political issue in a political climate that is already so deeply divided, the current government is actively pushing away people who should be natural allies in this fight.

My message to them is simple: focus on a winning, unifying argument, and stop whining about “bias.”

In the UK, it is required by law (at time of writing) to purchase a television license in order to watch live TV. This article should not be interpreted as encouraging anyone to fail to purchase a license if a license is required. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

The classic Star Trek dilemma: Kirk or Picard?

Spoiler Warning: There are spoilers ahead for the following Star Trek productions: The Original Series and its films, The Next Generation and its films, and Picard Season 1.

“The only question I ever thought was hard / Was do I like Kirk, or do I like Picard?” So sang “Weird Al” Yankovic on his 2006 parody hit White & Nerdy. In those two lines, the comedy singer encapsulated a debate that has rumbled on in the Trekkie community since The Next Generation premiered in 1987! This is a question I’ve thought about many times, and today I’m finally going to put (metaphorical) pen to paper and lay out my thoughts on this classic Trekkie debate.

Though there have been at least a further six captains or protagonists who’ve joined the Star Trek franchise over the years – or more, depending on how you count things – the classic debate has always surrounded Picard versus Kirk, and I think that’s probably because the contrasts between the two characters and their approaches to leadership are so extreme. Most Star Trek captains who have followed embody elements of both Kirk and Picard’s styles of management and leadership while remaining distinct characters, but when it comes to the franchise’s first two captains, there seems to be a major clash of personalities.

Just like “Weird Al” did, we’re going to consider this difficult question!

My first contact with the Star Trek franchise was The Next Generation in the early 1990s. It was only later that I went back to watch The Original Series and its films, encountering Captain Kirk and his crew for the first time. The Next Generation made me a Star Trek fan, and while I can appreciate what The Original Series did and how entertaining it was, I just don’t have the same connection to it – or to any other Star Trek show, frankly – as I do to The Next Generation. So that’s my own bias stated up front as we go into this discussion!

I’ve always found this debate to be fascinating, but I try not to take it too seriously. Some fans can turn genuine and heartfelt passion into toxic or even aggressive negativity sometimes, attacking others who don’t share their precise views on the nature of Star Trek (or other franchises). Fandoms shouldn’t be a place for division, negativity, or toxicity; they should be a place where we can all come together to share something we love. It’s in that spirit that I enter this discussion – and I encourage everyone to keep in mind that all of this is subjective, and it’s supposed to be light-hearted fun!

So let’s get started, shall we? For reasons both alphabetical and chronological, Captain Kirk gets to go first!

The Case For Kirk

Captain Kirk in his first appearance.

Captain Kirk will forever be Star Trek’s first captain, and thus he should be the yardstick that Trekkies use to judge the successes of any subsequent captain – Picard included. Without Kirk, there would never have even been Picard – because there would quite literally have been no Star Trek. Just look at the failure of The Cage, the first pilot shot for The Original Series, as a case in point: Star Trek only became successful when Captain Kirk was in command.

But Kirk isn’t the best just because he was first. James T. Kirk is a man of action: a tough-talking, villain-punching, decisive commander who stops at nothing to get the job done and protect his ship and crew. He’s not above a bit of rule-breaking, either; when you’re alone on a mission of exploration far beyond Federation space, what’s the point in Starfleet orders or the Prime Directive?

Captain Kirk wasn’t above getting into a proper fight.

On board his ship, Captain Kirk made friends. He didn’t see his crew as mere underlings, but as people he actually liked spending time with. He even developed Star Trek’s first ever cross-species friendship, bridging the gap between emotional humans and stoic, logical Vulcans in the best way possible. His friendship and partnership with Spock became legendary – and frankly, Picard has no friends… or at least, he has no friendships that come anywhere close to matching the closeness between Kirk and Spock. This pair literally created the genre of slash fiction!

It wasn’t until the finale of The Next Generation that Picard was prepared to sit down with Riker and play a round of poker, but Kirk had those friendships from the start. His closeness with Spock has rightly become legendary, but he was also firm friends with Dr McCoy, Sulu, Uhura, Scotty, and even the young Chekov. Kirk’s crew would even risk their Starfleet careers to steal the USS Enterprise and follow him on a dangerous mission to the Genesis Planet in The Search For Spock.

Captain Kirk was loved by his crew… not grudgingly respected.

As Star Trek’s first captain, Kirk made first contact with many different races and factions – including practically all of the franchise’s best-known and most famous aliens. He also introduced us as the audience to races like the Vulcans and the Klingons – two of Star Trek’s most iconic alien races. It’s through Kirk’s eyes that we first came to perceive many of the franchise’s classic factions; he gave us his perspective and allowed us as the audience to meet these aliens through his interactions with them.

Captain Kirk developed rivalries with some of Star Trek’s biggest and most notorious villains. The Romulan commander from Balance of Terror, Garth of Izar, who went on to inspire an entire fan-series, Dr Tolian Soran in Generations, and even “God” himself in The Final Frontier. Most significantly, of course, Kirk found his arch-enemy in one of the greatest villains ever put to screen in the whole of cinema: Khan. Picard’s enemies simply aren’t in the same league.

“Khaaaaaan!”

Captain Kirk recognised the dangers of space travel, and he blazed a trail that Picard and others merely followed. He knew that it wasn’t going to be possible to find a negotiated settlement to every problem, and wasn’t shy about pulling out his phaser – and his fists – to settle disputes. Do you think Captain Kirk would have been bossed around by the Sheliak, or by the Edo and their Mediators? Or would he have punched those alien menaces in the face and told them where to shove it?

In conclusion, Captain Kirk is a bona fide action hero, a man’s man, and the embodiment of the very best of Starfleet in the 23rd Century. He would consider peaceful options where they were available, but wasn’t above punching aliens in the face when he needed to. He would go above and beyond for the sake of his crew, even being reduced in rank by Starfleet for having the audacity to save Spock. He saved Earth on many occasions – and even saved the life of his rival, Captain Picard, and the entire crew of the Enterprise-D in his final act before dying a hero.

The Case For Picard

Captain Picard in Encounter at Farpoint.

Let’s calm down, leave the toxic masculinity in the ’60s where it belongs, and let a grown-up take charge. Captain Picard is the Joe Biden to Captain Kirk’s Donald Trump – he’s level-headed, diplomatic, and professional. Captain Kirk may have been the archetypal action hero of the ’60s, but by the late ’80s, things had moved on. What fans wanted to see from someone in a position of authority was not someone who was quick to pull out their phaser or punch an alien in the face, but someone who could be diplomatic, courteous, and who could resolve situations without needing to resort to such barbarity. Embodying all of those traits was Captain Picard.

A new era of Star Trek not only needed a new face, but a whole new style of leadership, and Captain Picard delivered. If the 23rd Century had been the “wild west,” where anything was allowed and rules were made to be broken, the 24th Century saw Starfleet evolve and move beyond that. Civility could finally replace cowboys like Captain Kirk.

Captain Picard is a more civilised leader perfect for a new era.

Did Captain Kirk ever pilot his own ship? In the episode Booby Trap, we saw for ourselves just how skilled Captain Picard was, and how intimately he knew his ship. Where someone like Kirk would have ordered maximum warp until the power was drained, Picard and his crew came up with a complex solution, then executed it perfectly. Picard made the Enterprise-D dance like a ballerina; Kirk could never have done anything like that.

Where is Star Trek: Kirk? Oh, that’s right: they never made that series. But they did make Star Trek: Picard, such was the overwhelming response from fans to this wonderful character. 176 episodes of The Next Generation and four films weren’t enough – fans were eager for more Captain Picard, and thus he became the first character in Star Trek’s history to get a new show named after him. More than thirty years after we first met Captain Picard, new adventures with the character are still being created, with at least two more seasons of the show in production.

Captain Picard got his own spin-off show because fans love the character so much.

While Kirk may have had fun with some villains like Khan, he never had to stare down the biggest, most devastating threat that the Federation ever faced. Captain Picard beat the Borg… and he did it twice. He even survived being assimilated and was able to push through his Borg programming to give his crew a piece of vital information that ultimately saved Earth. In First Contact, Picard brought the Enterprise-E to the Borg’s second invasion attempt, saving the day in the 24th Century and then again in the past. Forget the Klingons, the Gorn, the Romulans, and the people on that weird planet who all pretended it was Chicago in the ’20s: Captain Picard fought and defeated the most dangerous threat that the Federation has ever encountered.

Captain Picard realised that he can be on good terms with those under his command, but that as the captain he has to put the needs of the ship first. In the episode Lessons, he learned first-hand that having close relationships with subordinates is difficult for any commanding officer, and maintaining a friendly but respectful distance from his crew – even those whose advice he relied upon – was necessary to keep everyone safe and to allow him to be able to make the tough calls.

Captain Picard and the crew of the Enterprise-D.

Captain Kirk got to make many first contacts – but he did so by default because he was first. Captain Picard actually made more first contacts than Kirk did – including with some very different forms of life. Whether it’s the Microbrains, the Exocomps, or the Q Continuum, Captain Picard was prepared to treat everyone he met with courtesy and respect, staying true to Starfleet’s mission of seeking out new life. But it doesn’t end there. Captain Picard introduced us as the audience to alien races like the Bajorans, Cardassians, and of course the Borg – and these would go on to be just as important to the Star Trek franchise overall as any of the aliens we met in The Original Series.

In conclusion, Captain Picard is a calm diplomat, the level-headed manager of a large crew, and the personification of the very best of 24th Century Starfleet. He guided his crew through some incredibly difficult and dangerous missions while maintaining his composure. He learned lessons about loss and grief that Kirk never had to learn. And he saved the lives of at least two of Kirk’s crew: Spock and Scotty. He also saved Earth from the Federation’s greatest threat, and even learned to perceive time in a non-linear fashion thanks to Q.

So Who Wins?

Kirk or Picard?

You’re going to hate me for this – but they both win. Everything I said above is true (in a roundabout, tongue-in-cheek way), but that doesn’t mean that one captain is better than the other! Like all of us, Kirk and Picard have strengths and weaknesses; things they do well and areas where they need to rely on others. There isn’t a definitive answer to a question like this, because the answer will always be “it depends on the circumstances.”

There are times when Captain Kirk’s approach to leadership is needed, and times when the way Picard approached a situation would lead to the best chance of success. As we saw in Generations, there was even a time when the only way to save the day was for both men to team up. The fact that each captain has his own set of skills and his own style of leadership isn’t a weakness – it’s a strength, one which benefits Star Trek as a whole.

Kirk and Picard meeting for the first time.

I mentioned in my introduction that subsequent captains have incorporated elements from both Kirk and Picard, and that’s because both men have so many positive, upstanding qualities that Star Trek’s writers were keen to give to new characters as the franchise has continued to grow. Kirk was always ready for action, but that never came at the expense of being thoughtful and considering non-violent solutions. And Picard’s diplomatic, polite style could give way to ordering his crew to “fire at will” when the situation called for it. Both captains are adaptable, able to rise to meet the needs of all manner of incredibly difficult situations – even if that meant setting aside their usual ways of doing things.

No one can doubt Kirk or Picard were absolutely dedicated to their ships and crews, either. They may have shown that dedication in slightly different ways, and they may have expressed their appreciation and love for their friends and crewmates in different forms as well, but both of them were quite literally willing to lay down their lives and go down with the ship if necessary. Both men ultimately lost their ships – the original USS Enterprise and the Enterprise-D were both destroyed. But they both bounced back to take over new commands and go on to even greater things.

There are times when I’m in the mood for watching Captain Kirk get into a fist-fight with a Gorn or for seeing his epic stand-off against Khan. And there are moments where I want to see Picard use diplomacy to win an argument with the Sheliak or watch him wrangle with one of Q’s puzzles. But there are also times where I want to see Picard grab his phaser rifle and kick some Borg butt, and times where I can think of nothing better than seeing Kirk solve a scientific mystery like that of V’Ger. Both captains have given all of us so much enjoyment and entertainment over the years that I simply can’t crown one of them a winner and leave the other a loser. To me, they’ll always both be winners.

The Star Trek franchise – including The Original Series, The Next Generation, and every episode and film 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.

Forza Horizon 5 – video game review

Forza Horizon 5 was released in November for Xbox One, Xbox Series S/X, and PC. It took a little while, but after spending quite a bit of time with the game over the past few weeks I’m finally ready to put pen to paper and share my thoughts!

Forza Horizon 5 is a big game. There are different kinds of races and events to participate in, ranging from multi-race championships all the way to smaller challenges and mini-events. The game’s open world is huge and offers varied terrains and scenery. And perhaps most importantly for a racing game, Forza Horizon 5 offers a veritable smorgasbord of cars to choose from.

What Forza Horizon 5 is not, though, is massively different from its predecessor. If you’ve played Forza Horizon 4 at all, you know the formula. This time around there’s more: the game world is bigger, there are more roads to drive on, more races and events to take part in, and so on. But it isn’t a fundamentally different experience – aside from the scenery changing from the quaint English countryside to the deserts, jungles, and beaches of Mexico, it’s basically an iterative instalment of the series. I don’t think that’s necessarily a problem for Forza Horizon 5; it’s a riff on the same concept, expanding it in some significant areas but without really breaking new ground. However, when the formula works, why shake it up too much? As the saying goes: “if it ain’t broke, don’t fix it.”

The Horizon spin-off series has always taken a more casual approach than mainline games in the Forza Motorsport series, and that trend continues here. There’s a party atmosphere that runs through the entire game, with a handful of named characters who all take a very laid-back approach to running the titular Horizon festival. That feeling extends to gameplay, too. Races are organised seemingly haphazardly, and there’s a lot of fun to be had simply by exploring the open world, making your own fun, and driving some fancy cars at high speed!

Forza Horizon 5 is perhaps the most accessible racing game I’ve played – except, maybe, for Mario Kart 8. The game is geared up for fans of arcade racing, with a “pick-up-and-play” attitude that feels perfectly aligned with the aforementioned casual, laid-back approach taken by characters within the game itself. That isn’t to say that Forza Horizon 5 presents no challenge – not at all. But this is a game that allows players to tailor the kind of challenge or fun that they want to the way that they like to play. There are options to tweak practically every aspect of single-player gameplay, meaning Forza Horizon 5 would be a great introduction to racing games for a complete newbie – but a game that experienced racing fans can enjoy as well.

As a gamer with disabilities, I always appreciate games that go out of their way to be accommodating. In Forza Horizon 5, it’s possible to slow down single-player gameplay to give players more time to react or make moves. It’s possible to see a guide line on the ground or along racetracks pointing players in the right direction. And there are different levels of assistance; cars can be set up to brake automatically, for example, as well as change gears. Forza Horizon 5 also recommends specific cars for specific races, ensuring that players who aren’t familiar with cars or racing games won’t find themselves in an unwinnable situation.

None of these things have to be used, and they can all be turned off for players who want a more realistic or challenging racing experience. The game has pre-set difficulty options, but within those pre-sets it’s possible to tweak many different individual characteristics so players can get the kind of experience that they want. This really does open up the game to many different skill levels, and Forza Horizon 5 would be a great game for someone brand-new, a kid seeking a more realistic racer than the likes of Mario Kart, and everyone else all the way up to racing simulation fanatics.

Forza Horizon 5 also brings a lot of customisation options to the table. Every car (at least, every car that I’ve unlocked so far) can be customised. Cars can be repainted in every colour of the rainbow, and can have custom liveries applied – including advertising logos for famous brands. There’s already a bustling customisation scene, with players from all over the world sharing their custom creations for others to download and use in-game. I love a game with strong customisation elements, and Forza Horizon 5 absolutely delivers in that regard!

As I was getting started with Forza Horizon 5, I actually found myself getting a little emotional. As you may know, I’m non-binary – meaning that my gender identity falls in between male and female, and I prefer to use they/them pronouns. When setting up my Forza Horizon 5 character, the option to use they/them was present alongside male and female pronouns – something that was amazing for me, and for other non-binary players as well I hope. It’s still quite rare to see games offer this option, so it was an incredibly welcome surprise.

I’m not the world’s biggest car enthusiast. My knowledge of cars mostly comes courtesy of Jeremy Clarkson and the rest of the crew of Top Gear! But for people who know more about cars than I do, I reckon Forza Horizon 5 has a lot to offer. Although the game goes out of its way to be accessible and to have cars ready-to-race from the moment of being unlocked or purchased, there are still plenty of tuning options to fiddle about with. At the game’s uppermost echelons, where elite players are duking it out and races are won or lost by the millisecond, perhaps some of these things will make a difference. I’m not at that level – but some folks are, and there are tuning and customisation guides already for many of the game’s vehicles.

Although Forza Horizon 5 includes a lot of ultra-expensive supercars from manufacturers like Bugatti, Koenigsegg, and Lamborghini, I think it’s great that the game offers classic cars, “normal” street cars, and even some novelty vehicles or cult favourites as well. For example, the game includes a classic Land Rover (a personal favourite of mine), as well as every nerd’s favourite car: the DeLorean! There’s a VW Camper available, a classic Mini, a Morris Minor, as well as a Hummer, and even a car taken straight from Hot Wheels! In short, there’s fun to be had with some of these vehicles, and while some may not be suitable for winning every race or clocking the fastest time, for having fun driving around the game’s open world I think some of these additions are absolutely fantastic!

Some racing games offer light-hearted fun, and for me, Forza Horizon 5 is absolutely that kind of game. I can pick it up for even just a few minutes at a time, hop into a race or two, and then put it down knowing I can do the same thing again later on. It absolutely can be more than that; players with the inclination can take it more seriously, spend more time on their vehicles, and really push hard to get the best lap times and reach the top of the various leaderboards. That’s not the way I personally play – but the fact that Forza Horizon 5 has plenty to offer to all kinds of players is a huge mark in its favour in my book!

I’m a subscriber to the PC version of Xbox Game Pass, so for me Forza Horizon 5 was available on release day to download and play at no extra cost. On that basis, I’m thrilled with the game. That being said, for folks who don’t like the idea of a subscription or who like owning games outright, I can absolutely recommend Forza Horizon 5 as a purchase. Game Pass is a great service, but I recognise that it isn’t for everyone. When I looked at Halo Infinite a few weeks ago I said that paying £55 for just the campaign felt a bit much, so getting the game on Game Pass made a lot of sense. But there’s a heck of a lot of value in Forza Horizon 5 for players of varying skill levels and with varying levels of interest in cars – so it feels like a solid buy.

I think that’s all I have to say about this one! I’m thoroughly enjoying my time with Forza Horizon 5 and I’m looking forward to jumping back in and getting into my next race. See you on the track!

Forza Horizon 5 is out now for Xbox One, Xbox Series S/X, and PC. Forza Horizon 5 is the copyright of Playground Games, Turn 10 Studios, Xbox Game Studios, and/or Microsoft. Promotional images and artwork courtesy of Xbox and Microsoft. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

How long is too long?

Spoiler Warning: Minor spoilers are present for Dying Light 2, Red Dead Redemption II, Kena: Bridge of Spirits, and Animal Crossing: New Horizons.

I’ve talked a couple of times about video game length here on the website, and specifically about how some games can feel too short to offer good value at their price point. Games which cost £65 or $70 but only last five or six hours routinely get criticised for being too short, but my argument is that they’re really just priced incorrectly – had a six-hour game cost £25 instead of £65, it feels like a better price point and thus better value.

Take Ori and the Blind Forest or Kena: Bridge of Spirits as examples – relatively short games (under twelve hours) yet priced around the £30 mark. Both games felt like great value at that price point, and no one seemed to argue that they were somehow “too short.” In my review of Kena: Bridge of Spirits I even argued that padding out the game much beyond the 12-hour mark would’ve been too much.

Kena: Bridge of Spirits was the perfect length for the kind of game it wanted to be.

Over the past 24 hours I’ve seen a different argument arise online, particularly in relation to upcoming action-horror game Dying Light 2. Developer Techland recently claimed that total completion of the game is expected to take in excess of 500 hours – longer, they say, than it would take to walk from Warsaw in Poland to Madrid in Spain. That’s a distance of 2,631 kilometres, or 1,634 miles.

Long-distance hiking aside, I’ve seen a lot of folks online actually criticising Techland and Dying Light 2, proclaiming that its length “isn’t a selling point,” or that the game is “too long.” Having tackled a similar argument before with games that were said to be too short, I wanted to take a look at this and consider whether a game can indeed be too long.

This recent boast from the Dying Light 2 developers hasn’t gone down well with everyone…

In 2020 I spent in excess of 120 hours playing Animal Crossing: New Horizons, and the longest I spent in any single game in 2021 was Red Dead Redemption II, which took me 103 hours to complete the main story and the epilogue. I’m not a completionist who has to get every single achievement and discover every single hidden item or collectable. According to Red Dead Redemption II’s in-game progress tracker, after my 103 hours I’d completed 84% of the game.

However, the remaining 16% was – for want of a better term – fluff. It consists of collectables, travelling to obscure locations, catching at least one of every fish… in a word, boring nonsense that I had no interest in! Likewise with Animal Crossing: New Horizons – after 120+ hours I felt I’d done everything that the game had to offer at least once, and I had no real interest in continuing to dig up fossils or buy random junk from the shop to keep playing.

After more than 100 hours, I’d completed 84% of Red Dead Redemption II.

Games have a natural lifespan, just like any other entertainment product. That length will depend on what the game has to offer, how repetitive some of the tasks and missions are, and many other factors. If Red Dead Redemption II had offered another 103 hours’ worth of proper story missions, I daresay I’d have kept playing because I found the story to be engrossing – but I wasn’t going to spend that time in a fairly static endgame world where all of the missions were complete and all I had left were collectables to find and minor tasks to perform. That doesn’t hold my interest.

For some folks, though, it does. Some games encourage players to keep playing over and over again, and in some quadrants of the gaming community, it isn’t uncommon at all to find players who’ve dedicated literally years to a single game, sinking thousands or even tens of thousands of hours of playtime into titles like Minecraft, EVE Online, or even the aforementioned Animal Crossing series.

EVE Online is well-known for having very dedicated players who play for years and years.

But statistics would seem to suggest that those kinds of players – and those kinds of games – are comparatively rare. For example, in Red Dead Redemption II, most players have unlocked the achievement or trophy for completing the game’s first chapter. Yet on all platforms – Xbox, Playstation, and PC – barely one in three make it to the end of the epilogue and see the credits roll. Red Dead Redemption II has been out for more than three years, so there’s ample time for most players to have progressed that far if they’d wanted to – but it seems that the game’s length sees more and more players drop out as the story goes on.

I like a long story. I’ll happily watch a television show with seven seasons or something like the extended versions of The Lord of the Rings films. And I enjoyed my time with Red Dead Redemption II. But perhaps players who seek out these very long experiences are in a minority – achievement stats for a number of big titles would seem to bear that out.

Scarcely one in five Steam players who started Red Dead Redemption II actually managed to finish its story.

I mentioned the length-versus-value debate at the beginning, and I think a variation of this argument comes into play for long titles just as it does for short ones. If a game is unnaturally “long” because it’s padded out with repetitive fetch-quests, a massive open world that takes ages to traverse, and hundreds of hidden collectables that make no impact whatsoever on gameplay and story, then a developer shouldn’t be bragging about length. That isn’t a long game – it’s a bloated, padded one, and one that probably won’t be much fun for 80% of the time!

This is what I think people were getting at with the Dying Light 2 situation. While some folks may feel that any game can be too long to be enjoyable, the real criticism seems to be that players are concerned that the developers of Dying Light 2 are making a nonsense brag based on how the game world is going to be stuffed with minor, inconsequential fluff. Tasks like shooting 200 pigeons in Grand Theft Auto IV aren’t actually a lot of fun for most players who wanted to complete the entire game, and while finally unlocking that last achievement or trophy may provide some folks with a brief hit of dopamine, the frustration of having to track down 200 obscure, hard-to-reach locations across a large open world probably wasn’t worth it.

Shooting pigeons was a minor task in Grand Theft Auto IV.

So is Dying Light 2 “too long” at 500 hours? Until the game is in reviewers’ hands and we can find out how many of those hours are spent on fun, interesting, or original quests, I don’t think it’s possible to say. Some people may argue that 500 hours will always be too long, and for them that may well be the case. Aside from Civilization VI, I can’t think of any game in the past decade that I’ve spent much more than 100 hours playing – so I guess I’m part of that crowd as well.

In principle, though, I don’t think 500 hours has to be too long for Dying Light 2. But it depends what the game has to offer by way of story, exploration, and engaging gameplay. If the bulk of players’ 500 hours is spent chasing boring collectables or slowly trudging across an open world that’s too large for the game’s mediocre level of content, then yeah, I’d agree that it’s too long and has been overstuffed with meaningless fluff. But if there’s a long story that manages to hook players in and keep their interest, then it’s a whole different conversation.

At the end of the day, we all want different things from our games. Folks who have busy lives and other commitments might feel the need for a shorter game, or a game that they can dip in and out of easily. Players with more free time or who like to stream their gameplay on Twitch might prefer longer, open-ended games that are chock-full of collectables. We all like different things, and there really isn’t an answer to a question like this that can satisfy everyone. If you think Dying Light 2 is going to be too long for you to enjoy… don’t play it, I guess. There are plenty of shorter games out there to take your interest instead. For my two cents, I’d rather see a game have too much content than too little, and be too long rather than too short – especially if it’s charging me £60 or $70!

Dying Light 2 will be released on the 4th of February 2022 for PlayStation 4/5, Xbox One/Series S/X, Nintendo Switch, and PC. All titles mentioned above are the copyright of their respective developer and/or publisher. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery theories – week 7

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4, Short Treks, Star Trek: Picard Season 1, Star Trek: Lower Decks Season 1, and for other iterations of the Star Trek franchise.

Because Discovery is currently taking an unscheduled six-week break, I was in no rush to update my theory list! The second half of Season 4 won’t air until the 10th of February (or the 11th here in the UK), so there was more time than usual to consider the implications of the most recent episode: But To Connect.

But To Connect worked well as a mid-season finale, even though some of its story points weren’t my personal favourites and some of the drama felt rather contrived. We have some interesting questions to consider about Ruon Tarka in particular, as the Risian scientist told us some very interesting and unexpected things.

This week we have three retiring theories and one confirmation. As always, we’ll look at those first before we jump into the main list.

Retired theory #1:
Dr Kovich is an agent of Section 31.

Dr Kovich.

Though Dr Kovich’s role within the hierarchy of Starfleet and the Federation is still unexplained, after But To Connect I think we can finally retire this theory – one which I’d been holding on to since we first met the character in Season 3.

Dr Kovich’s early interactions with Georgiou in particular seemed to show him as someone morally ambiguous to the point of being uncaring; he knew that Georgiou’s health was going to fail, yet did nothing to warn her or Captain Saru. Combined with his stoic demeanour and a sense that he wasn’t telling us anywhere close to everything he knew, I speculated that he could be an operative – or even the head – of shadowy organisation Section 31.

Dr Kovich’s first appearance seemed to set him up as a mysterious, morally ambiguous character – perfect for Section 31.

There was the potential for some kind of tie-in with the Section 31 series, but with that project seemingly being shelved (at least for now), that doesn’t seem like it’s a consideration for the writers and producers in charge of the overall direction of the Star Trek franchise. In fact, we haven’t seen any mention of Section 31 explicitly since Season 2.

We’ve seen Dr Kovich as a psychologist, working with Starfleet Intelligence, having a say in the running of Starfleet Academy, and now as an expert in the field of AI. Whoever he is, and whatever formal title or position he holds, I think we can finally rule out Section 31. Dr Kovich has turned out, to my surprise I must confess, to be one of the true believers in the goals and ideals of Starfleet – something he demonstrated clearly in But To Connect through his interactions with Zora and Stamets.

Retired theory #2:
Zora will go rogue.

Zora with Captain Burnham in Stormy Weather.

There is still an open question surrounding Zora’s burgeoning sentience, and what that could mean for Captain Burnham, the crew of Discovery, and indeed the rest of Starfleet. Whether this is something Season 4 will find time to tackle, or whether Zora will be dealt with in more detail on another occasion isn’t clear right now – but I think what is clear from what we heard in But To Connect is that Zora is firmly on Starfleet’s side.

Especially after Zora’s refusal to follow orders in Stormy Weather – a moment that came with a throwback to HAL 9000 from 2001: A Space Odyssey – I was somewhat nervously awaiting Zora going completely rogue, perhaps even doing something to endanger the ship and crew.

Zora in But To Connect.

Though Zora’s refusal to share the co-ordinates of the DMA’s origin seemed, at first, to confirm my suspicion that this was the direction of travel for this storyline, Discovery ended up turning it around over the course of But To Connect, reassuring Zora that she could trust the crew of Discovery, and reassuring us as the audience that our heroes can trust her as well.

This was cemented by Zora sharing the co-ordinates of the DMA’s origin, but also by Zora being given an official role as a Starfleet mission specialist – the same loophole that brought Burnham aboard the ship after her mutiny in Season 1. Zora has started the process of becoming a more significant character on the show – something that I’d like to see continue in future episodes, as I kind of like the idea of the crew and ship working in tandem. It gives me Farscape vibes!

Retired theory #3:
Captain Burnham and the crew will encounter the Klingons.

Kol, a 23rd Century Klingon leader.

If we were going to see the Klingons this season, I think the diplomatic summit in But To Connect would have been where it happened. With the DMA seeming to be of extragalactic origin, it doesn’t seem like the Klingons will turn out to be the mysterious Unknown Species 10-C, either. So I’m choosing to retire this theory for now.

I don’t know why we haven’t seen any 32nd Century Klingons since Captain Burnham and the crew arrived last season. It’s possible that Discovery’s writers feel they’ve done all they can with the faction and want to move on to other stories, but having a Klingon or two as minor characters at key moments like the diplomatic summit wouldn’t get in the way of that. So I confess that I’m not sure why we haven’t seen any Klingons lately – but it doesn’t seem like we’re going to this season.

Confirmed theory:
Captain Burnham’s war experiences from Season 1 will come into play.

Captain Burnham in But To Connect.

In But To Connect, we saw Captain Burnham arguing in favour of a less-aggressive posture toward the DMA. She drew on her own experiences with the Klingons, in part, to inform this decision. While Book and Tarka argued for attacking the DMA with their new weapon, Burnham was one of the key voices advocating for a peaceful stance and to try to make first contact with Unknown Species 10-C.

It’s reasonable to plan for worst-case scenarios, and as I argued in my review of But To Connect, the two contrasting approaches to the DMA didn’t have to be a zero-sum game. It would have been possible to take a more balanced position, as Discovery has tried to do all season long, in which the DMA-stopping weapon was built while the Federation also made an attempt at peaceful first contact. But regardless, I speculated last week that Burnham would be the one to argue for making an attempt at peaceful first contact, reminding everyone that no one currently knows what the DMA is supposed to be nor what the intentions of its creators were. And that’s pretty much what she did in But To Connect.

So those theories are done!

Now we’re going to jump into the main list, starting with a few new theories and a few theories that saw movement in But To Connect.

Theory #1:
Ruon Tarka’s mysterious “friend” is someone we’re already acquainted with.

I’m sure that’s how Tarka would’ve typed if he’d used MSN Messenger circa 2002.

Why did Ruon Tarka avoid naming his “friend” when Book asked him about it? Tarka’s friend is supposedly one of the major motivating factors in him wanting to stop the DMA – he wants to use the power source at its centre to “punch through” to a parallel universe in the hopes of meeting up with this person. But when Book asked him who this individual was, Tarka tried to ignore the question.

This could be a complete over-reach, but I wonder if the reason for the secrecy is because Tarka’s friend is someone who we as the audience are already familiar with. This could be someone from Discovery, or it could be someone from a past iteration of Star Trek. Given that Tarka wants to travel to a parallel universe, perhaps his friend is the counterpart from that universe to someone we’re familiar with.

I put together a short list of possible candidates for being Tarka’s mysterious friend, and you can find it by clicking or tapping here.

Theory #2:
Tarka aims to travel to the Kelvin universe.

The USS Kelvin, namesake of the Kelvin timeline.

There are many parallel universes, as Tarka reminded us in But To Connect. The Mirror Universe is one that we’re familiar with from Discovery and from past iterations of Star Trek – but Tarka seemed to suggest that that isn’t his destination. In addition, Dr Kovich told us in Season 3 that travel to and from the Mirror Universe is no longer possible as of the 32nd Century.

Though Star Trek has shown us a number of different parallel universes before, the other major one that comes to mind is the Kelvin timeline (also known as the “JJ-verse”) in which the three reboot films were set. 2009’s Star Trek showed us the point of divergence; the moment at which this universe and the prime timeline separated: the arrival of Nero and his attack on the USS Kelvin. Star Trek Into Darkness and Star Trek Beyond furthered our understanding of that universe somewhat.

Kirk and Spock in the Kelvin timeline.

A fourth Kelvin film may or may not be happening, but even if it does the setting remains ripe for further exploration. We don’t know how far the Kelvin timeline and the prime timeline will have diverged, and whether it operates like the Mirror Universe with every character getting their own alternate counterpart. If it does, perhaps Tarka met his own Kelvin timeline counterpart and that’s how he cooked up this scheme.

Though Tarka is correct about the multitude of different universes and realities, of all the ones we’ve spent a significant amount of time with thus far in Star Trek, the Kelvin timeline seems the most likely destination. Compared to the likes of the Mirror Universe it’s safer, and if it diverged significantly from the prime timeline it stands to reason that the Burn never happened. We also got an oblique Kelvin timeline reference in Season 3 – could that have been a hint?

Theory #3:
Tarka’s friend made the DMA.

Tarka and Stamets made a model DMA.

How does Ruon Tarka know so much about the DMA and its inner workings? It’s true that he got data from the USS Discovery’s mission, from the scans Book’s ship took, and from other sources, but even so he seems to have been able to figure out the precise mechanisms by which the DMA operates incredibly quickly. This leads me to suspect that he may know more about it than he’s willing to say.

We should acknowledge a production-side explanation here. The way Discovery Season 4 has been written and edited has seen a number of key moments in the DMA storyline blitzed through incredibly quickly. As the audience, we’ve been parachuted in just in time to see key moments: Stamets’ proto-wormhole theory, the DMA being an artificial construct, the DMA coming from outside of the galaxy, and the discovery of its origin point. The fact that these key moments happened in relatively short sequences with not a lot of setup adds to this sense that people like Tarka seem to have accumulated a lot of information about the DMA very quickly, and we should acknowledge that he claims to have been working on this problem off-screen for many weeks, if not months.

Tarka and T’Rina with a hologram of the DMA.

So there is that caveat. But something about the way Tarka stormed aboard the USS Discovery in The Examples with clear blueprints for building a scale model of the DMA did give me pause. And then in But To Connect, his plan to disable it (but not destroy it) using a very specific type of weapon also seems to have come along at a very convenient moment.

In short, I’m speculating that Tarka knows more about the DMA than he’s letting on, and that his friend may be involved in its creation. If his friend is from a parallel universe, they may have even built the DMA specifically to help Tarka travel there. In The Examples, Book accused Tarka of knowing who made the DMA, which could be a further piece of evidence.

Theory #4:
Book and Burnham will get back together.

Book and Burnham earlier in the season.

If there’s one thing that I’d cut from Season 4 it would be the unnecessary insertion of more Burnham relationship drama. After everything she went through with Ash Tyler in Seasons 1 and 2, finding a way for her to feel settled was a huge net positive for the series. She doesn’t need to have that with Book, but having established that they worked very well together as a couple, undoing that would not be my preference.

So this is as much a hope as it is a bona fide theory, but I would like very much for Book and Burnham to resolve their differences – and quickly. Whether that will come from Book realising that Tarka has manipulated him, from Burnham reaching out, from the pair finding a way to compromise… it doesn’t really matter. But I’d hope that, within an episode or two of Season 4’s return, we can put all of this nonsense to bed. Permanently.

Theory #5:
The DMA isn’t a super-weapon.

President Rillak convinced Captain Burnham to make this argument to the delegates in But To Connect.

We got a more detailed examination of this argument in But To Connect, and as mentioned it was Burnham – with no small amount of prompting from President Rillak – who led the charge.

In brief, the DMA being damaging and destructive doesn’t prove that it’s a super-weapon, even if it was artificially created. I’d add into this discussion the fact that the DMA, in all the weeks (or months) that it’s been in the Milky Way, has destroyed one planet and one small asteroid colony. If someone were using the DMA as a weapon, it seems remarkably inefficient to have harmed precisely two places in all that time.

Captain Burnham pointed out that we have no frame of reference when it comes to Unknown Species 10-C and the DMA. There’s simply no way of knowing what their intentions were by creating this anomaly, and while it could be a weapon, there’s also a chance that it isn’t. Right now, the fact that the DMA has been misunderstood feels like a distinct possibility.

Theory #6:
The DMA is a life-form.

Zora is an AI that came to life. Maybe the DMA is too?

On the other side of But To Connect we got into a complex discussion with Stamets, Dr Kovich, and the others about the nature of Zora. At what point does an artificial construct become a distinct and unique life-form? This argument had echoes of past Star Trek episodes like The Measure of a Man and Author, Author, and was interesting in its own right. But could it be laying the groundwork for something to come with the DMA?

Star Trek has shown us life-forms like V’Ger – a giant energy cloud surrounding an artificial life-form. Perhaps the DMA is something similar, and while it may have started out as a simple piece of machinery, it has since evolved into something more. Just like with Zora, perhaps part of the second half of the season will be about understanding this new form of life – and protecting it, if necessary, from the likes of Tarka.

Theory #7:
Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.

Adira and Stamets with a map of the Milky Way galaxy.

In But To Connect, President Rillak told us that the diplomatic summit she convened would bring together races from “all four” quadrants. Assuming she was referring to the familiar Alpha, Beta, Gamma, and Delta Quadrants that make up the Milky Way galaxy, this would count as our first mention of the Delta Quadrant in the 32nd Century. I didn’t spot any familiar Delta Quadrant races (or their emblems) amongst the assembled delegates, however!

I had previously speculated that the Burn may not have affected the entire galaxy equally, and that regions farthest away from the Verubin Nebula may have survived without much damage. I still think that this is a possibility – though whether Discovery will revisit the Burn in any depth, or visit the Delta Quadrant at all, remains unclear.

To see a full write-up of this theory, click or tap here.

Theory #8:
There will be a character crossover from a past iteration of Star Trek.

Star Trek has had some wonderful crossovers in the past.

Ruon Tarka’s friend could, as mentioned, be someone we’ve already met. But there are other ways to bring back a character from a past iteration of the franchise – and there would be many potential benefits to doing so! I had initially proposed a version of this theory in the run-up to Season 3 that centred on the Doctor from Voyager – but with some creative technobabble, practically anyone could be included, despite the leap forward in time.

Choose To Live showed us the Abronians in cryo-sleep, and Stormy Weather saw the crew of Discovery use the transporter buffer to survive – just like Scotty had done in The Next Generation Season 6 episode Relics. Could these be hints at something to come?

It would also be possible for Captain Burnham to discover the logs or a holographic recording of a long-dead character – and while this would be less of a “crossover,” it could still be a ton of fun and great fan-service!

Theory #9:
President Rillak knows what the DMA is and may be responsible for its creation.

President Rillak.

Although we’ve seen President Rillak working hard to unravel the DMA, I’m not ready yet to strike her (and the Federation) off my list of suspects! As we saw in But To Connect, President Rillak is very keen to see Earth (and other worlds) rejoin the Federation as quickly as possible. The DMA has facilitated greater contact between Earth and the Federation than there has been in a long time, and was also a driving force in Ni’Var rejoining. In short, if President Rillak ordered the DMA’s creation as part of a cunning plan to bring wayward ex-member worlds back into the fold… it’s working. At the very least, she isn’t letting the crisis go to waste!

I was also struck by President Rillak’s insistence on negotiating peacefully with Unknown Species 10-C. While this is perfectly in line with stated Federation values and objectives… could she have another motive? If the DMA was created by the Federation, destroying it could cause a shockwave to resonate along its wormhole and damage or even destroy the Federation facility or planet where the DMA was originally created. President Rillak’s peaceful approach may be intended to protect the people who created it – because she knows who that is.

President Rillak and Captain Burnham.

Despite her recent appearances seeming to suggest she’s firmly on Captain Burnham’s side, I see a noticeable manipulative, almost Machiavellian side to President Rillak. She’s brought Burnham on board because she believes working together is to her advantage, as she did with the Ni’Var negotiations and at the diplomatic summit. But she also used Burnham in both of those cases to advocate positions that it would be politically or diplomatically difficult for her to do openly – effectively manipulating those events from behind the scenes.

Captain Burnham needs to tread very carefully, as I firmly believe that President Rillak is someone who will happily throw her – and everyone aboard the USS Discovery – under the bus in a heartbeat if she believed doing so would advance what she considers to be the Federation’s best interests. And if she believed that the way to bring the Federation back together is to give the various independent worlds a threat that they couldn’t handle alone… well, that might just be the reason why she sought to create something like the DMA.

As stated in previous weeks, President Rillak may not have created the DMA, nor ordered its creation, but may be covering it up because it’s in the Federation’s best interests in her opinion. She may also be choosing to keep this knowledge hidden so she can continue to exploit the DMA for her own purposes.

Theory #10:
Season 4 will connect with the Short Treks episode Calypso.

Zora dancing with Craft in Calypso.

Zora’s status as a member of the crew was confirmed in But To Connect, and this followed her developing emotions and sentience earlier in the season. Zora is now much closer to her presentation in Calypso, potentially bringing the story of the Short Treks episode one step closer.

There are still significant hurdles to overcome if the story of Calypso is to be wrapped up in Season 4, though. Obviously we have the timeframe issue: will the USS Discovery be sent back in time, be abandoned, or is Calypso taking place centuries in the future? Then we have the USS Discovery itself – it’s been retrofitted since arriving in the 32nd Century, and now looks very different to how it did in Calypso. I’m not sure how Discovery will overcome these hurdles – but it’s possible. It feels like a proper link-up with Calypso is edging closer week by week.

So those theories are new or saw movement last week.

Now, as always, I’ll keep the theory list all in one place by recapping all of the other theories that I currently have in play for Discovery Season 4.

Theory #11:
Unknown Species 10-C is a faction from a past iteration of Star Trek.

Could Unknown Species 10-C have already appeared in Star Trek?

Despite the fact that the DMA has passed through the galactic barrier, making assumptions is dangerous! We’re only at the season’s halfway point, after all, so there’s plenty of time for twists and turns.

Based on the DMA potentially having an origin outside of the Milky Way, the three suspects that immediately spring to mind are the Kelvan Empire, the Sphere-Builders, and the super-synths from Season 1 of Star Trek: Picard. They’d all been on my list of suspects going back months, and I really feel that any one of them would make for a potentially interesting story.

I have a longer list of suspects for Unknown Species 10-C, so for a more detailed look at these three candidates – and many others – click or tap here to see the full list.

Theory #12:
A major character will be killed off.

Shaxs’ funeral in Lower Decks.

Lieutenant Tilly’s departure in All Is Possible definitely shook up the cast. And Gray’s departure in But To Connect may do so as well. However, I stand by what I said before the season aired: killing off a character can be a great way to demonstrate the dangerous nature of the circumstances that the crew have found themselves in. So far, despite tangling with the DMA on several occasions, only a couple of redshirts have lost their lives.

In Stormy Weather, Dr Pollard raced through the corridors of the USS Discovery to reach a hull breach. Shortly after she arrived, a redshirt was blown out into space – but Dr Pollard survived. Although moments like this can make it feel that Discovery is shielding its main and secondary characters with some pretty heavy plot armour, I still feel that there’s scope to see a major character death before the season ends.

If you want to check out my pre-season “death predictions,” in which I speculated about which characters may or may not be in danger, you can find that by clicking or tapping here.

Theory #13:
The Guardian of Forever will be back.

The Guardian of Forever as it appeared in The Animated Series.

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. Because Captain Burnham and the crew still don’t know much about the DMA or Unknown Species 10-C, it would make sense to at least ask the Guardian for help – maybe it has encountered this phenomenon or the people who made it before.

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 #14:
The crew will have to defend the Verubin Nebula.

The dilithium planet is vital to the Federation.

Despite having grown to sixty member worlds, the Federation is still in a weakened state and isn’t yet back to full strength. 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 cache of the valuable fuel, whoever controls the Verubin Nebula will have a massive tactical advantage.

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. This could even be the objective Unknown Species 10-C have – they may be looking for a way to control the Verubin Nebula and its supply of dilithium.

Theory #15:
The ban on time travel will be explained in more detail.

The USS Enterprise was able to travel through time using the “slingshot method.”

This one is as much a hope 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 #16:
The Federation has flouted the ban on time travel.

President Rillak may have tried to circumvent the ban if she felt doing so would be in the Federation’s interests.

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 there are other Federation leaders – such as President Rillak – who could be implicated.

Obviously the bulk of the season’s story will deal with the DMA. 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 #17:
Michael Burnham won’t remain captain of Discovery.

Captain Burnham in The Examples.

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 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 on the bridge in Stormy Weather.

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 #18:
Saru will be given the captaincy of the USS Voyager-J.

Captain Saru.

Saru’s future was briefly discussed before he offered to serve as Captain Burnham’s first officer in the episode Anomaly. 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?

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. This could also set the stage for his departure from the show, or possibly even for a new show following his adventures aboard his new ship.

Theory #19:
Book will find Kyheem and Leto inside the DMA.

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 almost eighty years earlier. The DMA’s similarly 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: what’s going on with the DMA? Was it designed to kill? Or is it some kind of method of faster-than-light travel, using the wormhole at its core? If it’s the latter, perhaps some of the people on Kwejian may have survived or been transported to wherever Unknown Species 10-C reside.

Theory #20:
We haven’t seen the last of the Abronians.

I currently have four ideas for different ways that the Abronians – the non-humanoid race that Captain Burnham, Tilly, and the Qowat Milat helped save from cryo-sleep in the episode Choose To Live – could play a further role in Season 4.

Theory #20a:
The Abronians’ homeworld was destroyed by the DMA.

Captain Burnham believes this image depicts a “supernova.”

After arriving at the Abronians’ cryo-ship, Captain Burnham found a stone carving that seemed to depict the destruction of the Abronians’ homeworld. This carving was only shown on screen briefly, but it seemed to show the planet being damaged or destroyed in a large explosion. Burnham credited the planet’s destruction to a “supernova,” and the story then raced ahead.

Considering that the main thrust of the season so far has been about the DMA, perhaps Burnham was incorrect: the Abronian homeworld was destroyed by the anomaly, not a supernova.

Theory 20b:
The Abronians’ homeworld was on the “other side” of the DMA.

Abronian stasis pods.

The DMA seemingly contains the technology to generate an artificial wormhole. It’s thus possible that the DMA can facilitate travel between incredibly distant locations – not only for itself, but for other starships too. The subspace tear that the DMA left behind went nowhere – but it may be possible to get “inside” the DMA itself or even use its wormhole tech to travel vast distances.

One thing struck me as odd about the Abronians: the Federation was entirely unaware of them, despite the Abronian cryo-ship being relatively close to Federation space – such that Captain Burnham could reach it using Book’s ship in a short span of time. It’s possible that the Abronians had been asleep for millennia, unnoticed by the Federation and the wider galaxy for all that time. But it’s also at least possible that their cryo-ship is a newcomer to the area. If so, perhaps it arrived here via the DMA.

Theory #20c:
The Abronians will return to help the Federation later in the season.

A deceased Abronian.

One of the themes of Discovery since Season 3 has been connection, including building connections between the Federation and other races and organisations. The Abronians were awoken from cryo-sleep thanks to the interventions of Captain Burnham and Tilly – at least in part – and they may seek to repay the Federation, or Captain Burnham personally, for that help.

We saw this play out last season with Ni’Var; in the season finale Ni’Var ships raced to the Federation’s aid as the Emerald Chain attacked. Perhaps the Abronians will likewise step up to help when the Federation needs allies.

Theory #20d:
The Abronians’ moon-ship may be useful in a later story.

“That’s no moon…”

The Abronians’ cryo-ship is huge, and at least superficially seems to have the mass of a moon or small planetoid. If Captain Burnham and the crew needed a starship that large, such as to aid in the evacuation of a planet threatened by the DMA, for example, perhaps they’ll return to the Abronians and ask to borrow it.

As we saw in Choose To Live, the moon-ship was in full working order. All it needed was some extra dilithium to power up and it was perfectly capable of moving under its own power, and its computer systems were still functional. The only system that seemed to have failed was the wake-up timer! So if the crew are in need of a huge starship, perhaps we won’t have seen the last of the moon-ship!

Theory #21:
Captain Burnham and/or the Red Angel suits from Season 2 are connected to the DMA.

A Red Angel suit from Season 2.

Now that we know the DMA is artificial in nature, the question shifts to who built it and why. We’ve covered the idea of it being a weapon or an out-of-control experiment, as well as being a life-form in its own right. It could also be something created by the Federation. But because this is Star Trek: Discovery, a show which likes to put Captain Burnham at the centre of its stories, perhaps there’s a connection to her that we’re missing.

The Red Angel time travel suits from Season 2 were phenomenally powerful machines, capable of generating time-wormholes large enough to transport an entire starship 930 years into the future. We already know that the DMA potentially contains a synthetic wormhole, so it wouldn’t be a huge leap to connect the two. We also don’t know for certain what became of Captain Burnham’s Red Angel suit after the Season 3 premiere. There’s also the faint possibility of a parallel universe Burnham or time travelling Burnham being responsible.

Theory #22:
Ruon Tarka – perhaps aided by Book or Stamets – will create the DMA.

Stamets, Tarka, and Saru with the DMA model.

I included Tarka on my list of suspects for the creators of the DMA, but this warrants a full entry on the theory list too! In short, we saw Stamets and Ruon Tarka creating a scale model of the DMA in The Examples, and according to Reno their experiment came very close to destroying the entire ship. They were able to perfectly recreate the device at the centre of the DMA, albeit on a smaller scale – so what’s to prevent Tarka from building a full-scale replica (other than the power generation requirements)?

This theory posits that he will do exactly that – somehow – or that his experiments will set into motion a chain of events that leads to the creation of the DMA in a kind of time-loop storyline. The DMA’s wormhole-generating technology may give it the ability to travel backwards through time as well as across vast distances, so it seems technologically plausible at the very least.

The DMA.

But To Connect fleshed out Tarka a little more, giving backstory to him and a potential motive for his single-minded pursuit of the DMA. He also may know more about the anomaly than he’s letting on – including who is responsible for its creation. Regardless, Tarka has been shown as someone willing to take all kinds of risks, and it’s not impossible to think that one of his risks could backfire – creating the DMA in the process.

Personally, I find time-loop paradox storylines to be frustrating – and they can be very difficult to pull off successfully. There’s no beginning point to such a story: the DMA exists because the DMA was created because the DMA exists because the DMA was created… it’s an infinite loop. But we’ve seen Discovery tackle time travel stories like this before – and the pieces seem to be in play right now for this theory to pan out.

So that’s the main theory list.

We also have two production-side theories in play, and I’ll recap those now.

Production-side theory #1:
Tilly’s departure will be permanent.

Tilly’s departure feels permanent.

Mary Wiseman confirmed in an interview with Wil Wheaton on The Ready Room (Discovery’s social media aftershow) that Tilly will be seen again before the end of Season 4, and we glimpsed her in the trailer for the second half of the season as well. But that doesn’t mean she will return as a main character on the show going forward, and her departure in All Is Possible felt permanent. Despite that, I’ve seen quite a lot of folks online who don’t believe that Tilly is actually leaving the series – so I wanted to put it out there officially and say that, in my opinion anyway, she is.

Maybe those people know something that I don’t! As I always say, I don’t have any “insider information;” all of this is just speculation on my part. However, I feel that the manner of Tilly’s departure, the fact that she got that emotional sequence with Captain Burnham, a montage showing her leaving the ship, Adira seeming to take over several of her roles, and her departure feeling like the culmination of her arc going back to the latter part of Season 3 all come together to strongly indicate that she won’t be back as a major character. She may yet have a significant role to play in a future Season 4 episode, as has been suggested, but unless Discovery’s writers are really playing with our emotions I believe we’ve seen Tilly’s end as a main character on the show. She may come back in a future Starfleet Academy series, though… so watch this space!

Production-side theory #2:
Star Trek: Discovery isn’t going to be renewed for Season 5.

Is a fifth season going to happen?

Since Discovery debuted in 2017, we’ve known well before this point in the season that the show has been renewed. This obviously isn’t one of those “I hate new Star Trek” things that we’ve seen doing the rounds online for years; I adore Discovery and genuinely want to see it continue. But it’s profoundly odd to have arrived at Season 4’s mid-season break and to still have had no announcement about Season 5. For comparison, Star Trek: Picard has been renewed for Season 3 even though Season 2 hasn’t aired yet.

I’m hopeful that this is just a blip; a temporary delay for reasons unknown, and that the show has been renewed for Season 5 already behind the scenes. However, when we look back at Star Trek productions in recent years, it was often apparent that production work was quietly ongoing even if there hadn’t been any official word from ViacomCBS. As far as we know at this stage, there’s been no pre-production work on Season 5, let alone any filming taking place in the Toronto area. The abrupt announcement that the show is taking a mid-season break could also be indicative of issues with the production.

Once again, this is a “watch this space” kind of theory. I hope I’m wrong… but the lack of any news or even any significant rumours about the show’s future is beginning to have me worried.

So that’s it.

Discovery will return in five weeks’ time.

We’ve hit the halfway point of Season 4 with a number of theories still in play! There are major questions surrounding Ruon Tarka, Cleveland Booker, the nature of the DMA, and Unknown Species 10-C in particular that all need answers when the show returns next month. It’s going to feel like a long wait!

Before we go, one final point. I write up these theories because I like Star Trek and I like writing. But for some folks, fan theories can hamper their enjoyment of a film or television show. It’s worth keeping in mind that most of these theories probably won’t pan out, and we have to be prepared for the fact that even the most well-constructed fan theory, no matter how fun and plausible it seems, simply won’t turn out to be true. If you find that speculating and reading theories is beginning to detract from your enjoyment of Star Trek: Discovery – or any other television show or film – it might be a good idea to take a break for a while.

Star Trek: Discovery Season 4 is currently on hiatus and will return on the 10th of February. The first half of 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, YouTube, 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.

Star Trek: Discovery Season 4 – So who is Ruon Tarka’s “friend?”

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.

With Discovery taking an unplanned six-week break, we’ve got a little time to settle in and collect our thoughts. The first half of Season 4 has seen some progress toward unravelling the mystery of the dark matter anomaly, but there are still plenty of questions! From this point, the story could go in many different directions, and could potentially make significant connections and crossovers with past iterations of Star Trek. Today, we’re going to consider one such possibility.

In the episode But To Connect, which served as the mid-season finale, Ruon Tarka returned. Tarka is a Risian scientist who had been working on the DMA and who had collaborated with the USS Discovery’s own Paul Stamets in the episode The Examples to build a working scale model of the anomaly. We learned more about him this time, including what he claims to be his motivation for wanting to destroy the DMA while preserving the machine at its centre: he wants to use it to travel to a parallel universe.

Tarka made his first appearance in The Examples.

During a conversation with Book, Tarka claimed that he had “a friend” while he was forced to work for the Emerald Chain. This friend wasn’t mentioned by name, but appears to have been a major motivating factor for Tarka to find a way to cross the divide between universes; to “punch through” as he put it.

This could all be obfuscation on Tarka’s part; a made-up story to help him sink his talons into Book and manipulate him into doing his bidding. Tarka’s plans relied on Book: he needed him to either convince the delegates to approve the use of his weapon, or to use the stolen spore drive to deliver the weapon without Federation help. So we have to acknowledge that possibility.

Stamets and Tarka built a scale model of the DMA.

But I was struck by the way this conversation deliberately kept Tarka’s “friend” hidden from us as the audience. Book asked who the friend was, but Tarka quickly waved away the question. That makes me wonder… who is this friend? And could it be someone we’ve met before – maybe in Discovery, but maybe in a past iteration of Star Trek?

So today we’re going to consider a few possible candidates for Tarka’s friend. Who could this person be, and if they survived their imprisonment with the Emerald Chain, might we be about to meet them?

Tarka and Book aboard Book’s ship.

I can’t decide right now whether Discovery is setting up Tarka to be the main villain for the rest of the season, or whether Captain Burnham and the crew will resolve this storyline within an episode or two before moving back to the DMA and Unknown Species 10-C. Either possibility feels just as likely, so we could perhaps see the Tarka storyline rumble on for much of the second half of the season.

But we’ll have to set that aside for now! I’ve put together a list of candidates for being Tarka’s friend and we’ll go through them one by one. Just remember one thing: I have no “insider information,” and I’m not trying to claim that any of this will actually be included in Star Trek: Discovery. This is speculation and theorising from a fan – and nothing more.

With that caveat out of the way, let’s jump into the list.

Friend #1:
Aurellio

Let’s see… Aurellio is a bona fide scientist. He worked for the Emerald Chain. He and Tarka know one another. And although Aurellio has been mentioned several times this season, we haven’t seen him. Could he be the mysterious friend?

I don’t think so, not unless Tarka is even more devious than we think! Although we haven’t seen Aurellio this season, we’ve heard multiple times that he’s working with Starfleet, and he even built the new spore drive that Book and Tarka used in But To Connect. So unless Tarka has somehow managed to fake Aurellio’s entire existence… I think we can rule him out.

But on the surface, Aurellio fits the bill in some respects! We don’t really know of any other ex-Emerald Chain scientists, so it’s an outside possibility that Aurellio is involved in all of this somehow.

Friend #2:
Altan Inigo Soong

Dr Soong is the son of Data’s creator, and was encountered by Admiral Picard on the planet Coppelius in Et in Arcadia Ego, Part 1 – the first part of the Picard Season 1 finale. As a human from the 24th Century, he shouldn’t still be alive almost eight centuries later, but Dr Soong had plans to transfer his consciousness into a synthetic body. This process was mentioned earlier in Discovery Season 4, as it was used to give Gray a physical body.

If Dr Soong was ultimately successful, it’s possible that his synthetic form survived to the 32nd Century, and he could therefore be Tarka’s friend. He was already a skilled scientist when Picard met him, and with centuries of time to develop his skills he could have proven invaluable to an organisation like the Emerald Chain.

Now we get into abject speculation, but if Unknown Species 10-C turns out to be connected to the super-synths from Picard Season 1, this could give Dr Soong an additional motive for wanting to escape to a parallel universe: he might be aware of the threat they pose to the galaxy and all organic races.

Friend #3:
The Doctor

Nothing that Tarka said about his friend implied that they’re organic – so the Doctor being a hologram shouldn’t count against him! I’ve speculated before that a backup copy of the Doctor could still be alive in the 32nd Century, as we saw in the Voyager Season 4 episode Living Witness. While the Doctor wasn’t a scientist per se, after decades living and working with the Kyrians in the Delta Quadrant he may have broadened his skills.

If the Doctor was re-activated to find a galaxy ravaged by the Burn and all of his friends long gone, he might well want to escape to an alternate reality – there’d be nothing left for him in the prime timeline.

Perhaps the Emerald Chain intercepted his ship while he was on his way from the Delta Quadrant, or perhaps this is a different copy or version of the Doctor altogether from the one we saw in Living Witness. Because of the Doctor’s nature as a hologram, he could have easily survived this long.

Friend #4:
Control

Captain Leland, who had been “assimilated” by the Control AI, was killed at the end of Season 2, and the existence of life in the 32nd Century seems to suggest that Control was permanently shut down shortly after the USS Discovery left. But what if that didn’t happen, or if the shutdown of Control was incomplete?

So far this season we’ve had more mentions of Control – and a greater discussion of the implications of its rise – than we got in the entirety of Season 3. Could that be setting up something big later in the season? Could Tarka’s friend actually be someone that the Control AI “assimilated?”

If so, perhaps Control plans to abandon this universe to find one more easily attacked and dominated – and Tarka may find that his friendship with whomever it is was little more than a ruse.

Friend #5:
Another Ruon Tarka

There are multiple parallel universes – perhaps an infinite number! At least some of those universes contain alternate versions of everyone we’re familiar with: the Mirror Universe and the alternate reality of the Kelvin films being just two examples. So what if Ruon Tarka’s “friend” is, in fact, a parallel universe version of himself?

Tarka was confident that the parallel universe he intends to reach is better than the post-Burn reality he currently inhabits. But how could he possibly know that unless he’d either seen it for himself or met someone from that reality? Though in theory anyone from that universe could be Tarka’s friend, I think someone with the self-assuredness and arrogance of Tarka would be more inclined to trust his own counterpart.

We know that Tarka isn’t bound for the Mirror Universe – at least based on what he told Book. But here’s a spoiler for my next theory post: what if he’s trying to reach the Kelvin timeline? His unnamed friend could be his Kelvin timeline counterpart.

Friend #6:
Michael Burnham

We’re sticking with the parallel universe theme here. If an alternate version of Captain Burnham had somehow crossed into our universe, perhaps she’d been captured by the Emerald Chain and forced to work with Tarka. She might have warmed up to him, telling him of her true origin in a different, better universe.

Burnham has a keen scientific mind, and had she ended up in Emerald Chain captivity they might well have tried to put her to work as a scientist. Discovery has also put Burnham at the centre of big storylines before, such as by making her the Red Angel in Season 2.

The counter-argument to this would be that everyone we met from the Emerald Chain, including Osyraa, Ryn, and Aurellio, didn’t recognise Burnham or claim to have seen her before. It’s possible that they never met her or that she was working in a different lab, but it could also be seen as a mark against this theory. Tarka also suggested that his friend was male, which could also rule out Burnham.

Friend #7:
Dax

Thanks to the inclusion of Gray and Adira, we’ve spent some time with the Trill over the past couple of seasons. Trill symbionts are particularly long-lived, and there’s evidence to suggest that Gray and Adira’s symbiont, Tal, may have been alive in the 24th or 25th Century. It isn’t impossible, then, for the Dax symbiont to have survived to the 32nd Century.

Dax was one character I felt could make a comeback in Season 3. Early trailers dropped hints about the Trill, and bringing back Dax could’ve been a great way for the show to give fans a nod and a wink – but without needing to bring back an actor from the past. The nature of Trill life means that Dax would be in a new host by now – and thus the character could be recast in an easy and inoffensive way.

In Deep Space Nine we saw Dax mostly as a scientist thanks to Jadzia, and while Dax had many different roles over the course of their lifetime, returning to a scientific field is a possibility – certainly if a millennium’s worth of knowledge could be put to use. Dax is also aware, thanks to their adventures with Sisko and others, of the likes of the Mirror Universe.

Friend #8:
Soji

Due to her synthetic nature, Soji is also someone who could potentially still be alive in the 32nd Century. With centuries’ worth of accumulated knowledge under her belt, and a desire to help her people, Soji may have continued the Soongs’ work on cybernetics at some point after her adventures with Admiral Picard.

We haven’t yet seen any Coppelius synths in Discovery’s 32nd Century, and I’d be curious to see what became of them. If they survived and were able to continue to build new synths, there could be a thriving population by now. Many of the synths looked alike, so it’s possible that Tarka’s friend may have a familiar face even if they aren’t a character we’ve met before.

It would be great to get a proper crossover between Discovery and Picard, and this could be one way of doing it. The only drawback is that, because of the difference in time periods, having a character like Soji appear in Discovery would potentially be a limitation on future Picard stories.

Friend #9:
A Borg (or ex-Borg)

Where is the Borg Collective? We haven’t heard so much as a whisper since Burnham and Discovery arrived in the 32nd Century. It’s possible that the Borg have been defeated somehow in the centuries since they last tried to conquer the Federation, but it’s also possible that they’re the mysterious Unknown Species 10-C!

Perhaps Tarka’s friend is a Borg, ex-Borg, or even the Borg Queen, and the Emerald Chain had somehow kept Borg in captivity. It could be that Tarka is the one being manipulated, and his efforts to stop the DMA will allow the Borg to gain control of the power source at its centre.

We saw in Picard Season 1 that Borg technology and components were deemed valuable, such that a black market had sprung up. The Emerald Chain is exactly the kind of immoral faction that might have dealt in harvested Borg implants, and that could explain why they kept Borg captives.

Friend #10:
Gabriel Lorca

Captain Lorca commanded the USS Discovery during the show’s first season – but this character was later revealed to be from the Mirror Universe. The prime timeline version of Captain Lorca has never been found, and despite Admiral Cornwell and others believing that he wouldn’t have survived for long in the Mirror Universe, it’s at least possible that he did.

Or perhaps we’re dealing with another alternate version of Captain Lorca, someone native to the parallel universe that Tarka is attempting to reach.

Regardless, it could be fun to see the crew’s reaction to encountering their old captain! And it would be neat to welcome back Jason Isaacs to Discovery – his performance was one of the highlights of an occasionally rocky first season.

Bonus Friend:
Literally anyone!

Thanks to technobabble, practically any major character from Star Trek’s past could have survived to the 32nd Century. Stasis fields, time-wormholes, transporter accidents, pocket universes, warp bubbles, and many, many different phenomena could be brought in to explain the reappearance of practically anyone.

We already saw an oblique reference to one such method in the episode Stormy Weather. The crew placed themselves in the ship’s transporter buffer in order to survive their dangerous escape from the void – a method employed by Montgomery Scott in The Next Generation Season 6 episode Relics. Could it be that this was more than just a callback to that classic episode, and was the setup for something that will come into play later?

With the exception of those few main characters who had been killed off outright – Captain Kirk, Tasha Yar, Jadzia Dax, and a couple of others – basically anyone could fill this role as Tarka’s friend and make a triumphant return to Star Trek!

So that’s it.

Tarka showed a hologram of the DMA to the assembled diplomats and delegates.

I could be completely over-reaching with this one, but I felt that there was something about the way Tarka refused to name his “friend” in But To Connect that could be significant. Why keep that individual hidden – unless there’s something that’s going to surprise us when they’re ultimately revealed?

We’ve seen the Abronians in cryo-sleep this season, and we’ve seen the crew of the USS Discovery put themselves in suspended animation in the transporter buffer. The DMA also contains a wormhole, a phenomenon that has been used to travel through time in past iterations of Star Trek. Gray used the “Soong method” to acquire a synthetic body. And there have been multiple mentions of parallel universes. Any of these could be hinting at the return of a major character, perhaps someone who used one of these methods to either survive to the 32nd Century or to cross over from their native universe.

So that’s my theory. Ruon Tarka’s “friend” is someone we’ve met before, perhaps someone from Star Trek’s past who we wouldn’t expect to see! Unfortunately we’ve got to wait at least six weeks to see if I’m right!

Star Trek: Discovery Season 4 is currently on hiatus and will return on the 10th of February. The first half of 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, YouTube, 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.

Stats and analytics for 2021

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 3-4, Mass Effect: Legendary Edition, and Star Trek: Voyager.

Now that 2021 has come and gone, I thought it would be interesting to look back on the progress the website made over the course of the year. Thanks to my web host and other analytics I have a fair amount of data to measure the website’s performance.

A big caveat: this is just for fun! Running Trekking with Dennis is my hobby, not a serious job, and I don’t write here because I’m desperately chasing huge numbers of readers or “internet points!” I enjoy having a space of my own where I can share my thoughts and review some of the films and TV shows that I’m interested in – and I’d still be here even if no one showed up to read any of it!

It’s time to look at some stats and numbers for 2021.

If 2020 had been a year of slow and steady growth, 2021 was a wild rollercoaster! A couple of articles went “viral” – or at least as close to going viral as I’m ever likely to get – and those two posts accounted for significant spikes in views in June and again in December. Other articles generally did well, and I saw decent views for most of my Star Trek episode reviews, which was great, but those two pieces in particular seemed to get a lot of attention.

Overall, more than 61,000 people visited the website in 2021 – up from 14,000 in 2020. That’s a year-on-year increase of more than 300% – meaning the website more than quadrupled the number of hits this year. That’s astonishing, and the fact that so many people showed up to read articles that I’d written is actually quite a humbling feeling.

The number of visitors to Trekking with Dennis in 2021 could fill London’s O2 Arena more than three times over!

Visitors came from all corners of the globe, too. Trekking with Dennis picked up readers from the heart of Africa, every nation in South America, India, Russia, and even China! I guess I’m allowed through the Great Firewall (at least for now)! Every country in Europe was represented in the stats, including smaller countries like the Faroe Islands. Hi, Faroese readers!

Of course, the majority of views came from the Anglosphere, with the United States being the number one country. The UK, Australia, Canada, New Zealand, and South Africa were all well-represented, too. Considering the website is in English and deals with a lot of American-made films, games, and television programmes, I’d expect to see most of the views coming from those regions.

Hello, Faroe Islands!

In early November, the website’s name changed – and so did the URL. This change was disruptive, but far less so than I had initially thought. Though the number of hits definitely dropped following the change in URL, things actually got back to normal pretty quickly, and in December I saw the second of those “viral” posts I mentioned – something I definitely wasn’t expecting!

Across 2021 I wrote 263 articles – slightly more than in 2020. And those articles contained a combined 649,000 words! To give you an idea of how much that is: it’s the equivalent of approximately eight “average-length” novels, 100,000 more words than Victor Hugo’s Les Miserables, or roughly the same number of words as Ayn Rand’s Atlas Shrugged. That’s a lot of words!

So let’s take a look at the top ten most-read articles in 2021. These are the ten pieces that I wrote in 2021 that scored the most hits.

Article #10:
Preliminary Star Trek: Strange New Worlds predictions

This was the third part in an unofficial series that I ran in the early part of the year, looking ahead to several upcoming seasons of Star Trek. In this article I looked ahead to Strange New Worlds and made a few predictions – guesses, really – about elements the show might include. As luck would have it, later that same day came the announcements of five new members of the main cast! That was some strange timing, especially considering that this was the first piece I’d written about Strange New Worlds in more than six months at that point.

One of my predictions has already borne out: I said in this piece that I was sure there’d be a redesign of the uniforms, and the teases we saw at Star Trek Day proved me right! With the show still a few months away, though, we’ll have to wait to see if I was right about anything else!

Significant line: “I’m really looking forward to Strange New Worlds. It seems to be offering more of a “classic” take on Star Trek when compared to recent projects, and I’m 100% there for that!”

Article #9:
(When) Will Marvel reset the MCU?

I don’t talk about Marvel a lot here on the website. Comic books and their cinematic adaptations aren’t usually my first choice, and while I’ve enjoyed some Marvel films as popcorn entertainment, I just don’t have the nostalgia or connection to the world of comics that many folks have. Regardless, on this occasion in June I talked about the Marvel Cinematic Universe and its growing complexity – and asked whether a potential reboot or reset might be coming any time soon.

Keeping up with all of the goings-on in the MCU can feel like a full-time job sometimes! And because of Marvel’s love of crossovers, the shared fictional universe that its films and TV shows inhabit can feel intimidating or even offputting to the newbie or casual viewer. As the MCU has moved away from being “the real world plus superheroes” into a connected, shared setting with its own lore and almost fifteen years’ worth of history, it’s become dense and complex. Not every MCU title is inaccessible as a result – but some are getting to that point. Just like the worlds of comic books have been reset (such as in DC’s famous Crisis on Infinite Earths series), I feel it’s inevitable that Disney and Marvel will eventually do the same, rebooting the MCU for a new generation of audiences.

Significant line: “The legacy of characters like Iron Man, Captain America, and the Hulk could pass to new iterations of those characters with new actors taking on lead roles in stories inspired by earlier films, but remaining distinct from them. New backstories could be created, perhaps based on different versions of the superheroes from other editions of their comic books.”

Article #8:
YouTube channel spotlight: Cruising the Cut

Back in February I took some time off from sci-fi and fantasy to highlight one of my favourite YouTube channels from the past few years. Cruising the Cut is part-travelogue, part-documentary, part-lifestyle vlog, and follows the journey of a man who lives aboard a canal narrowboat here in the UK. When I first started watching, Cruising the Cut only had a few thousand followers, but the channel has recently passed the 200,000 mark – a milestone that is thoroughly deserved.

I’ve always had a fascination with the canal network – a series of artificial waterways made in the early years of the industrial revolution. Cruising the Cut often has fun and interesting canal facts, but it’s also the kind of slow, gentle viewing that I think we all need sometimes. High-octane action and tense drama is great – but sometimes taking a break from that and slowing down is just what the doctor ordered!

Significant line: “Canal narrowboats only have a maximum cruising speed of around four miles-per-hour, so don’t expect Cruising the Cut to be zipping all across the country in each video.”

Article #7:
Mass Effect: Legendary Edition – Death by a thousand cuts

“Death by a thousand cuts” was the somewhat dramatic title that I gave to my review of Mass Effect: Legendary Edition in June. I felt it encapsulated my feelings about the so-called “remaster”: that there wasn’t one single overwhelming fault, but a plethora of little ones that built up and contributed to a sense that it was far less than it could have been.

I adore the Mass Effect games, and I went into Legendary Edition hoping to get a good version of the original trilogy. But unfortunately, BioWare and EA took the path of least resistance, putting together a pretty crap “remaster” that I felt was not worth the asking price. There were bugs that had been present in the original versions of all three games that hadn’t been fixed – and I couldn’t excuse such extreme laziness and such a lack of care. I recently crowned Legendary Edition my worst game of 2021.

Significant line: “Legendary Edition represents a phenomenal missed opportunity to take these games and do more with them.”

Article #6:
Star Trek: Voyager – The torpedo and shuttle “problem”

I have to admit I was surprised by the response to this one! In the late ’90s, some fans argued very strongly that the USS Voyager had used “too many” torpedoes and shuttlecraft over the course of its journey through the Delta Quadrant, and the argument did the rounds in some parts of the Trekkie community for a while. Though I hadn’t really seen many people discussing it in recent years, the argument always bugged me – so I finally wrote out my response.

In short, I argued that a combination of resource gathering, trading, and building replacements was more than acceptable as a counter-argument, and in particular the fact that the crew were resourceful enough to build not one but two Delta Flyers was proof of this. Obviously “it’s just a story,” and the number of torpedoes fired or shuttlecraft used was at the whim of the writers. But from an in-universe point of view, I don’t see why it has to be considered a big deal. It seems at least some people are still interested in this argument after all!

Significant line: “It stands to reason that, contained within Voyager’s databanks, are the designs and schematics for both torpedoes and shuttles.”

Article #5:
Star Trek: Discovery – Was there a last-second change for Tilly?

All the way back in January, shortly after Discovery’s third season finale, I wrote this relatively short piece looking at Tilly. This focused on the short epilogue at the end of That Hope Is You, Part 2, specifically the scene in which Captain Burnham arrived on the bridge to assume command for the first time. Amongst the assembled officers and crew was Tilly, but for some reason her uniform colour had been digitally changed – and pretty badly, too!

Tilly was originally supposed to be wearing the red colour of the command division, but seemingly at the last moment her command red had been changed to science blue via some pretty awful digital effects. She was only on screen for a few seconds, but this was pretty noticeable on a re-watch. Now that we know Tilly’s destination in Season 4, I wonder if the original plan at the end of Season 3 had seen her character go in a different direction? Maybe the original intention was for Tilly to remain on the command track, or perhaps even to serve as Burnham’s XO? We may never know!

Significant line: “It’s possible that this literally was a last-second change; the low quality of the texture used for the blue stripe may mean it was something thrown together in a matter of days…”

Article #4:
Star Trek: Discovery – eight “gravitational anomaly” theories

I wrote this list-article shortly after Star Trek’s “First Contact Day” digital event. Sonequa Martin-Green had introduced the first trailer for Discovery’s fourth season, and it was in this trailer that we first got wind of the “gravitational anomaly” – unnamed at the time. I put together a handful of theories based on what we’d seen and heard in the trailer, and even as we’ve hit the halfway point of the season, at least a couple of those remain plausible!

This was the first opportunity I’d had to talk about Discovery Season 4 outside of pure speculation, and the trailer had dropped some hints as to the anomaly that we now know as the DMA. I had fun putting the list together, and going back to past iterations of Star Trek for inspiration – and it seems a lot of people found it interesting, too. This article did well throughout the year, but really saw an uptick in hits around the time Season 4 premiered, and has continued to perform well as the season has progressed.

Significant line: “Star Trek’s past didn’t provide the key to understanding the Burn last season. Will something we’ve seen before come into play in Season 4?”

Article #3:
Mass Effect theory: unlucky humans

Replaying the aforementioned Mass Effect trilogy got me thinking about a theory I’d kicked around when the games were new. In short, my theory was that humanity was particularly unlucky to emerge as a spacefaring race only around forty years before the Reapers attacked. Had the Reapers’ invasion come earlier, or had humanity’s progress toward faster-than-light travel been slower, it might’ve been possible to avoid the Reapers altogether and to emerge into a galaxy with no other sentient spacefaring races.

Had the extinct Citadel Council left behind plans and warnings, humanity could have had a 50,000-year head-start on preparing for the next Reaper War! This was just a fun one, an idea I’d had when the Mass Effect trilogy was new. Giving it the full write-up treatment was fun, but in all honesty I didn’t expect it to gain much traction. Being timely helped this article a lot, though, coming only a few days after the launch of Legendary Edition. I guess there’s a lesson there about getting my articles written on time!

Significant line: “If humanity hadn’t encountered the Mars archive when they did, or if the Ilos scientists hadn’t prevented Sovereign from contacting the Reapers in dark space when it originally intended to, it seems plausible to think that humanity might have been overlooked by the Reapers – at least in this cycle!”

Article #2:
Star Trek: Discovery Season 4 – Unknown Species 10-C: The Suspects

This is the first of the two “viral” articles that I mentioned. Published in mid-December, shortly after the episode The Examples confirmed that the DMA is artificial in nature, this piece really took off! I put quite a bit of work into this long list-article, considering twenty-six different possibilities from past iterations of Star Trek – from The Original Series to Picard – as possible culprits for creating the DMA.

In the aftermath of The Examples, my head was swimming with half-formed theories about Unknown Species 10-C. It took a while to write it all up, but what resulted was definitely one of the more fun and engaging writing projects of the past few months. Discovery’s fourth season – like the third before it – seems determined to go in an unpredictable direction, but even if that’s the case I can still say I had fun considering all of these different possible connections to past iterations of the franchise. And apparently, at least some Trekkies were just as interested in Unknown Species 10-C as me!

Significant line: “I keep thinking back to Season 3 and the Burn storyline, and how the ending to that story was something completely unpredictable and brand-new to the franchise. It wouldn’t surprise me to see Discovery go down that road again.”

Article #1:
Mass Effect: Legendary Edition – what’s the best ending?

So we come to the most-read piece of the year! Published in late May, a couple of weeks after the launch of Legendary Edition, in this article I considered what the “best” ending of the Mass Effect trilogy might be from an in-universe point of view. I tried to consider the pros and cons of the synthesis, destroy, and control endings to Mass Effect 3, giving my thoughts on each.

I suspect that the reason this article got so many hits is that players were looking for a guide to achieving a specific ending to the game – something the article doesn’t provide! So unfortunately, despite this being the best-performing article of the year, I suspect many readers came away disappointed having not found what they were looking for! However, I hope those that stuck around found an enjoyable and thoughtful piece, one in which I did my best to consider how the various endings to the trilogy might impact the Mass Effect galaxy, and the friends Commander Shepard made along their journey.

Significant line: “I have a hard time making this choice – it’s by far the most difficult in the entire trio of games, even though the short epilogue that follows is anticlimactic at best.”

But wait, there’s more!

Those were the top ten most-read articles that I wrote in 2021. But the year also saw several articles from 2020 pick up a number of views, and I thought it could be fun to briefly look at a few of those. We’ll just do the top five, since this article is already running long!

Article #5:
Introducing someone to Star Trek for the first time

This article, from back in June 2020, didn’t pick up much attention at the time it was written. By the standards of the website at the time it did okay, but even then I didn’t feel it was breaking the bank in terms of its view count. But for some reason it did much better in 2021, picking up dozens and then hundreds of views in a slow trickle throughout the year.

In this list-article I picked out fifteen episodes and films that I felt could make for a great “first contact” for a new viewer; someone unfamiliar with the Star Trek franchise. I tried to avoid the obvious ones, like The Wrath of Khan, and suggested a few different stories that showcase the varied nature of Star Trek, and how the franchise can dip its toes in some very different genres. I’m glad that it found an audience in the end – and if it helped even one person introduce a friend or loved one to Star Trek, then it’s more than done its job!

Significant line: “I tried to pick a few examples of stories that hopefully show off not only the franchise at its best, but that it can be different to the preconceived notions many people have.”

Article #4:
Star Trekkin’ – a number one hit!

This is an article that I had a ton of fun researching and writing in August 2020! If you’re a big Trekkie you’ve probably at least heard of The Firm’s 1987 song Star Trekkin’, which, as the title of my piece suggests, topped the charts here in the UK. The song is ridiculously silly, and the music video that accompanies it is even more so, but it’s a weird and wonderful piece of Star Trek’s history that I wanted to acknowledge. It’s also a curiously British thing, in some ways.

I had this song on cassette many years ago, and I can remember listening to it through headphones on the school bus with the volume turned down – just in case anyone could overhear! I also bought the mp3 of the song again when I transitioned to digital music, and I confess that I still put the song on occasionally for both a bit of fun and a blast of nostalgia. Star Trekkin’ is a weird song, but it was fun to write about – and I’m glad that Trekkies are checking out what I had to say about it!

Significant line: “It’s well worth a listen for any Trekkie who hasn’t heard it, and while I don’t promise you’ll enjoy it as a piece of music, you might just crack a smile.”

Article #3:
Can we PLEASE stop calling things we don’t like “objectively” bad?

From the silly to the serious! I wrote this piece after getting sick to death of hearing so-called critics using the expression “objectively bad” to refer to things that they personally didn’t like. I’m not trying to nitpick or get mad about a technicality, but when I hear the word “objectively” used in the context of basically anything in media, and narrative choices in particular, I feel there’s a conscious attempt to try to shut down any counter-arguments. Media criticism is practically always subjective, not objective – no matter what anyone may claim.

There is no such thing as a film, video game, or TV programme that is “objectively” bad – nor “objectively” anything else. There are certainly works of entertainment that don’t follow established rules or precedent, but in every case opinions will vary from person to person. There are myriad examples of works of fiction that I personally hate that I know other people adore. Neither opinion is “objective” – and that’s that.

Significant line: “It’s got to a point where it’s been proclaimed so often that any time I see or hear the phrase “objectively bad,” I stop reading or listening. Any critic making such a statement has lost my respect and lost the argument.”

Article #2:
Five things to watch at New Year (instead of fireworks)

This one is pretty straightforward! In 2020 – and sadly, again in 2021 – many New Year events that are usually televised were cancelled due to the pandemic. For several years in the second half of the 2010s I’d spent my New Years Eves with the London fireworks display on TV basically by default, but with the event cancelled due to covid in 2020 I got thinking about what I might watch instead – and this list was born!

Beginning on the 30th of December 2020 and running through to the early hours of New Year’s Day, this post saw a huge spike in views, and the same thing happened this past New Year. Due to the huge number of hits it had got in the wee hours of the 1st of January it was already quite high on the list, but the extra attention it got in December 2021 propelled it to becoming one of the best-performing pieces of the year!

Significant line: “Hopefully by the time we’re thinking about the next New Year’s Eve, things will be much closer to normal.”

Article #1:
It’s time for Deep Space Nine and Voyager to get the HD treatment

This article was the most-read of 2020, so I’m not shocked to see that it continued to perform well in 2021! In this article I called on ViacomCBS to remaster Deep Space Nine and Voyager, both of which remain in standard definition at time of writing. I argued that the move to streaming should be the reason why the shows get remastered, because the process will be less expensive this time around due to improvements in technology and far less of a need to produce and ship optical discs.

It doesn’t seem like ViacomCBS cares about Deep Space Nine and Voyager right now, sadly, and even though Paramount+ is playing host to both shows (in regions where it’s available), there’s still no sign of a remaster. I think it could be a good investment, because a lot of Trekkies who remember the shows fondly would be interested to see a remastered version; it would certainly drive some sign-ups to Paramount+. There are some decent fan-made remasters that you can find online, though… so that’s something!

Significant line: “A lot of folks seem to have given up on the idea of ever seeing those series in HD given the move toward online streaming and The Next Generation’s lacklustre performance on Blu-ray, but CBS All Access should be Deep Space Nine and Voyager’s ticket to a full-HD remaster.”

So that’s it!

Trekking with Dennis exceeded all of my hopes and expectations in 2021, with more than 61,000 people showing up to read the pieces that I wrote. I’m thrilled with how well the website has been performing, and I hope 2022 will be another good year.

To those of you who joined me in 2021, thank you. I hope I was entertaining, informative, or just a fun way to kill some time! You can look forward to more of the same in 2022, as I have no immediate plans to shake things up or make changes to the kind of things I do here.

2021 was a wild ride in so many ways, and it wasn’t a great year for many of us. Entertainment experiences – like films, video games, and TV shows – are some of the things that keep me going, and writing my thoughts or reviews of some of them is an extension of that. A chance to spend more time thinking and writing about Star Trek and some of my other favourites continues to be an enjoyable hobby, and a great escape, at times, from some of the less pleasant things going on out here in the real world.

Thank you for your support over the past twelve months – and here’s to 2022!

– Dennis
Wednesday, 5th January 2022

All titles mentioned above are the copyright of their respective studio, owner, corporation, distributor, broadcaster, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery review – Season 4, Episode 7: …But to Connect

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4 and Star Trek: Picard Season 1.

Sorry for being a few days late with this review! I had several other things going on this week, including my big end-of-year article, a piece looking ahead to 2022’s entertainment experiences, and finally a review of The Matrix Resurrections that I worked very hard on. I also hoped to get around to a review of the new Disney film Encanto, but that ended up taking a back seat along with this review of Discovery’s mid-season finale.

As I said last week, I wasn’t exactly thrilled with the way the mid-season break was announced. Doing so on such short notice adds to a growing sense that ViacomCBS and Paramount+ are being very poorly-managed, and while I don’t begrudge the creative team taking additional time to work on or rework episodes in the second half of the season if that work needs to be done, it raises some serious questions about the handling of the Star Trek franchise and the Paramount+ streaming service on the corporate side of things. If ViacomCBS truly aims to compete with the biggest names in streaming, nonsense like this has to stop. In addition, there are still many Trekkies and would-be viewers all around the world who can’t watch Discovery due to corporate bullshit, something else that ViacomCBS needs to fix as quickly as possible.

The opening shot of the episode.

But To Connect worked well as a mid-season finale. It was tense and had moments of high drama that demonstrated beyond any doubt that science fiction doesn’t need to drown in space battles and high-octane action to be exciting. It was also an episode that, unfortunately, made some of its moments of drama feel incredibly contrived.

After everything Michael Burnham went through in her rollercoaster relationship with Ash Tyler in Seasons 1 and 2, giving her the chance to settle down with someone like Book was an incredibly welcome change. Forcing them to go against each other – especially for a central reason that felt contrived in the extreme – would not have been my choice for the direction of their relationship. Discovery has, over the course of its three-and-a-half seasons thus far, felt a need to inject extra drama and extra conflict where none was needed, upping the character stakes to near-soap opera levels at times. Forcing Book and Burnham to work against each other is the latest example of this trend – and it’s a disappointing thing to see.

The last thing Discovery needs is more Burnham relationship drama. Let her settle down, for goodness’ sake.

Book fell under the influence of Ruon Tarka, someone who we’ll have to deal with in more detail in a moment. For now, suffice to say that Tarka pounced on Book’s emotionally compromised state, seemingly manipulating him to advocate for attacking and destroying the DMA instead of pursuing peaceful first contact with whomever created it. Tarka has his reasons for doing this – claiming he wants to preserve the DMA’s power source so he can use it for his own purposes.

Book was clearly not thinking logically – and given his grief and the external prodding by Tarka, that makes sense. But the idea that Burnham couldn’t help him push through that, especially given that the DMA is explicitly stated to not be an immediate threat to anyone, is the point that begins to stretch credulity and make this whole situation feel contrived and forced.

The DMA was not posing an active, imminent threat to anyone.

Here’s the central point: the DMA, despite its potential danger and raw power, hasn’t actually done that much damage. If we assume that Discovery Season 4 has taken place over at least a couple of months of in-universe time, which seems reasonable given how long some of the scientists seem to have been working on these problems, it’s destroyed precisely two places in that time – a rate of one per month. And aside from Kwejian, the only other place we know it’s hit was an asteroid colony with a population of a couple of thousand. The Federation and the rest of the galactic races present at the meeting clearly have time on their side: the DMA’s path doesn’t seem to be taking it near to any inhabited systems in the immediate term, and while its unpredictable nature could see it disappear and reappear somewhere more dangerous, that doesn’t seem to be its primary mission.

If the DMA were a weapon being actively controlled, it would have targeted more places by now, so the Federation’s plan to attempt to contact its creators makes far more sense than attacking it. Even if Book couldn’t understand that at first, being blinded by his grief or desire for revenge, surely of all people Burnham would have been able to convince him to see the logic behind this slower, calmer approach. If the DMA had been actively threatening a planet – especially a named world that we as the audience might be familiar with, such as Betazed or Sigma Draconis III – things would be different. But without that desperate and immediate need to stop another disaster, the rational approach is to try to contact Unknown Species 10-C.

Book fell under the sway of Ruon Tarka – someone who clearly has his own agenda.

Earlier in the season, we saw Burnham advocate a compromise position, and But To Connect should have offered another opportunity to do so: building the weapon capable of destroying the DMA before attempting first contact. If the DMA then changes course and presents an active threat, it can be destroyed. And in addition, having the weapon in reserve while making first contact would be a valuable asset. If Unknown Species 10-C won’t see reason, the weapon could be a threat. If there’s no one there to negotiate with, the DMA could be destroyed. In short, the answer to the pretty basic problem that the episode posed isn’t “do one or the other,” it should have been “do both.” Build the weapon as a back-up while preparing for first contact.

If Discovery hadn’t insisted on themes of compromise across its last two seasons, I guess I’d give it a pass on this false choice. But in context, it seems to run counter to much of what the show has been trying to say for at least the last two years: that there are always solutions to or ways around these kinds of conflicts. The question of how to approach the DMA did not need to be a zero-sum game, and someone like Captain Burnham should have realised that – even if Book couldn’t.

This didn’t need to be a “black or white” choice. Compromise should have been possible; this is a major theme that the show has tried to present all season long.

Not for the first time, I’m left with a sense that Discovery’s writers and producers have a definite goal in mind; an endgame for the story and characters. But they haven’t figured out how to reach that finishing point in a clear and consistent manner, leaving this side of But To Connect feeling contrived.

On the flip side, the speeches that both Book and Burnham gave were very emotional, and I can’t fault the performances of either Sonequa Martin-Green or David Ajala. Both came across as two people trying to do what they genuinely believed was the right thing; conflicted because of what it would mean for their relationship, but determined to press ahead regardless. Although this wouldn’t be the way I would have chosen to handle either character, there can be no denying that the performances were exquisite.

Both actors played their roles exceptionally well.

Also on this side of the story we had a muted role for President Rillak. Though she was on Burnham’s side – wanting to advocate for an attempt at peaceful contact – she chose to recuse herself from the debate, serving as a moderator only. I still get the sense that she has schemes in play – bringing Burnham along as an ally being one of the ways she tried to manipulate proceedings to get her way without being openly involved – but it was interesting to see her in a more centrist, unaffiliated role.

Among her ambitions from the diplomatic summit were showing the Federation as taking the lead in the fight against the DMA, but also opening initial channels to United Earth with a view to bringing the isolationist world back into the fold. We’ve seen a slight softening of Earth’s leadership since Burnham helped reunite Earth and Titan in Season 3, and it was nice to welcome back Phumzile Sitole as the newly-promoted General Ndoye. As a Trekkie, I want more than anything to see Earth rejoin the Federation – but only if it feels right. Earth shouldn’t be manipulated into coming back into the organisation, so this story beat will have to be handled delicately.

General Ndoye represented Earth and Titan at the diplomatic summit.

Ruon Tarka was perhaps the most surprising character in But To Connect. His self-assured cockiness was still there from his role in The Examples, but we got an idea of what could be driving him forward, and where his interest in the DMA may have come from. Stating that he wants to cross over into a parallel universe was certainly not something I expected – but at the same time it felt very familiar, and very Star Trek.

Tarka comes across as somewhat similar to Tolian Soran, the villain from Star Trek: Generations. Soran wanted to return to the Nexus – a paradise-like realm contained inside of an energy ribbon that periodically transited the galaxy. Tarka’s desire to enter the DMA and use its powerful controller to “punch through” to a parallel universe where he expected life to be better is at least somewhat comparable – and his willingness to break the rules and work against Starfleet shows the same kind of single-mindedness that Soran demonstrated.

Tarka is determined to use the DMA controller for his own ends.

We’ll save for my theory post a full discussion of Tarka, his possible motivations, and potential destinations. But suffice to say this character turn has piqued my curiosity. There’s the potential to get a more complex presentation of a “mad scientist” character trope, one which gives him an understandable or even sympathetic motive for his actions. I don’t think we’re at that point yet, but I see potential in this storyline.

Shawn Doyle was wonderful in The Examples, making Tarka stand out as a different take on a character archetype that has appeared on a number of prior occasions in Star Trek. This amazing performance continued in But To Connect, and Doyle deserves a lot of credit for the way he brought the character to screen with complexity – especially given the relatively small amount of screen time that Tarka has had in the season so far.

Tarka and Book formed an unlikely alliance.

As has happened several times already this season, though, Discovery quickly glossed over much of the actual work on the problems and puzzles posed by the DMA in order to get to the dramatic stand-off between Book and Burnham. Tarka’s weapon seemed to come out of nowhere, and although he’s clearly spent weeks or months of off-screen time working on it, in the episode itself it seemed to be a bolt from the blue; almost a deus ex machina solution to the threat posed by the DMA. As I’ve said on several occasions this season, the end result isn’t the problem – it’s that we as the audience really needed to see at least some of the process to get there, even if just by way of something like a montage.

In exactly the same way on the other side of the story, Zora’s discovery of the coordinates of the DMA’s origin was completely blitzed through in order to get to the story that the episode really wanted to tell. When it comes to the DMA, which is the season’s “big bad” at least thus far, Discovery has dedicated precious little time to actually dealing with it head-on, with much of the investigation happening off-screen. As the audience, we’ve been parachuted in just in time to see key moments: Stamets’ proto-wormhole theory, the DMA being an artificial construct, the DMA coming from outside of the galaxy, and now finally the discovery of its origin point. All of these points, so incredibly vital to the story of the DMA, feel like they’re scarcely even footnotes in a story which on the surface should be making more of them.

Captain Burnham, Stamets, and Adira listen to Zora as she refuses to share what she’s learned.

Before anyone jumps in to tell me off for missing the point: I get it. Discovery has other stories to tell, and wants to use this season in particular to look at issues surrounding trauma and grief. Practically all of the main characters seem to embody different responses to trauma: Stamets getting lost in his work, Culber desperately trying to help others even if doing so is at his own expense, Book’s journey through the stages of grief, and Tilly’s career switch all come from that same thematic place. And these individual, character-centric stories are absolutely worth telling. However, in a sci-fi series that also has the DMA as a major plotline, it feels that the first half of Season 4 has prioritised these character moments at the expense of this other major narrative. It should’ve been possible to balance the season’s story to give both appropriate weight and screen time – but Discovery has yet to find that balance.

So let’s tackle Zora next. The USS Discovery’s computer-AI-Sphere data hybrid has been developing slowly since Season 3, and until the very end of The Examples a couple of weeks ago felt like a relatively minor part of the season. Her transformation into basically an additional main character has been an interesting one, and this week was by far Zora’s biggest moment centre-stage. I got echoes of a number of past Star Trek stories – from The Ultimate Computer and The Measure of a Man through to Picard Season 1’s dealings with the synths and Data – in the way Zora was analysed and discussed by Dr Kovich, Dr Culber, Stamets, Adira, and Gray. It was an incredibly honest and frank discussion, one which absolutely embodied the spirit of Star Trek.

Zora’s status and rights were discussed in But To Connect.

Through this side of the story, But To Connect gave us by far the best and most sympathetic presentation of Dr Kovich. I maintain that, based on his earlier appearances, some kind of Section 31 or spy role was a possibility – and maybe that was the original intention for the character when he was created in Season 3. In But To Connect, however, we saw Dr Kovich as a firm believer in the values and ideals of Starfleet and the Federation: determined to seek out new life, and to ensure that very different forms of life have the same rights as everyone else.

Stamets also shone on this side of the story, and the writing here showed off a complexity that the relatively short half-episode runtime could have hampered. Stamets’ attitude toward Zora’s newly developed sentience could have come across badly, making him out to be some kind of “AI-phobe,” in the vein of something like Picard Season 1’s Zhat Vash. However, the way Stamets was handled – aided greatly by a wonderful performance from Anthony Rapp – ensured that we could understand his reservations and concerns without seeing him as some kind of futuristic bigot.

Anthony Rapp gave his best performance of the season so far.

As in All Is Possible, Discovery succeeded at taking a complex argument and ensuring that the views on both sides were sensible and understandable, allowing true understanding and trust to be reached. Likewise this week, Stamets didn’t simply try to put his foot down and declare that the existence of Zora was some kind of horrible, insurmountable problem, and nor did Zora attack Stamets or try to shut down his concerns.

In an increasingly polarised political climate here in the west, where politicians and activists on all sides are increasingly dogmatic and unwilling to listen to opposing points of view, Discovery once again showed us how debate and discussion should be handled: calmly, maturely, and with mutual respect. This is one of the lessons from this season of the show: that we can’t simply write off points of view we disagree with, nor should we try to shut down or dismiss them. Listening is the first step toward understanding.

Despite the stakes and the complexity of the arguments, But To Connect showed us how these kinds of conversations can and should be handled.

From my perspective as someone who’s non-binary, I felt there could be echoes of the real-world conversation surrounding transgender and non-binary folks in the way Zora’s movement toward acceptance was handled. There are many people who are dismissive of trans and non-binary people – something I sadly experienced firsthand recently in a conversation with someone I considered a friend. An unwillingness to listen and a desire to be dismissive of something we personally don’t understand is always going to be a temptation – but Stamets found that, by having a frank and honest conversation, his fears and concerns could be allayed.

There’s been a lot of debate around transgender and non-binary rights in recent years, and the issues of sex, gender, and gender identity have become highly politicised. Zora was struggling to find acceptance in But To Connect, and I felt that the show was perhaps drawing on the trans inclusion discussion for inspiration in this particular storyline. Speaking from a personal perspective, it isn’t easy to figure oneself out. To then present oneself to one’s friends only to be rejected is a horrible feeling – and I’m glad that Zora’s friends were able to remain on her side, even if they had questions about her at first.

It felt like the conversation with Zora may have had a real-world inspiration.

The Zora conversation also tackled the real-world issue of artificial intelligence and the growing impact of machine learning, algorithms, and AI on our daily lives. Star Trek has depicted “evil” AIs on several occasions, including in Season 2 of Discovery, so to take a break from that negative portrayal and to find a way to show AI in a positive light was a welcome change. I’m no longer convinced, for example, that we’ll see Zora go rogue or act against the crew’s wishes later in the season or in future stories; her status as a bona fide member of the crew feels settled.

Stamets was part of that, and voiced his concerns with eloquence before coming around to accepting Zora’s place in the crew. Dr Culber played a role too, as did Gray and Adira. It was very cathartic, after Stamets missed the entirety of Gray’s incorporation a few episodes ago, to see the two characters having the chance to interact. Gray’s future on the show is now uncertain following his departure with Guardian Xi bound for Trill, so it was even more important to give him and Stamets some small crumbs of screen time together.

It was great to finally see Stamets interacting with Gray and Adira.

In a very real sense, But To Connect felt like two distinct episodes haphazardly bolted together. In a longer season, both the conflict at the diplomatic summit and Zora’s moves toward sentience could have been explored while also giving more time to the likes of Tarka and his efforts to untangle the mysteries posed by the DMA. But because Discovery wanted to make a point – not a bad point, I concede – about Starfleet seeking out new life, we got both stories squashed down into the runtime of a single episode. Neither of these stories were bad, nor was the link between them, but the conflict at the summit in particular would have benefitted from additional development, and the incredibly minor side-story about Tarka and the DMA could have been fleshed out a lot more – as could Stamets, Adira, and Zora’s work to find the coordinates.

The similarities between the stories of Zora and the DMA would’ve still worked had they been longer or spread across two episodes, and I guess my big criticism of But To Connect isn’t that I hated or even disliked either, it’s that I would’ve liked to have seen a longer, perhaps slower-paced, version of them. Cutting the conflict between Book and Burnham – or finding a way to resolve it – would also have been a preference.

T’Rina and Tarka view a holo-model of the DMA.

But To Connect told two stories about seeking out new life: the very core of Starfleet’s mission. Zora’s story was the better of the two; it had more nuance, better characterisation, and a truly sympathetic presentation of both sides of the discussion. It dealt with incredibly deep and complex themes in an understandable way, giving rise to a conclusion that felt natural, but most importantly that felt earned.

The diplomatic summit, meanwhile, took what could have been a similar setup but presented it as a false “either-or” choice – a choice that, I would argue, felt unnecessary and thus contrived. Its conclusion, instead of being one that promoted understanding and dialogue, ended with one side claiming total victory and the other suffering defeat. This laid the groundwork for Book and Tarka’s rebellion – stealing a spore drive prototype and flying away to attack the DMA. That ending may have been a natural or inescapable one given the setup, but it didn’t need to be – and it seems to run counter to some very timely and important allegories that Discovery has tried to include this season.

Burnham casting her vote.

A few scattered final thoughts: Discovery seems to be going down the route of some of the ’80s Star Trek films by depicting interesting-looking background aliens… then giving them nothing to do nor even naming them. It would be nice to learn more about some of the galaxy’s races, but just dropping them in the background doesn’t feel like a particularly good way to handle things. The music in But To Connect was probably the best of the season so far, and the score used during the voting scenes in particular was incredibly tense – perfectly complimenting what was happening on screen.

Why does Burnham get a vote? I can understand why each Federation member world might get an individual vote, but giving everyone present the chance to vote could disproportionately favour one side. It feels like it was there for another moment of drama rather than because it makes sense in context.

We saw a full-blooded Cardassian, a Ferengi, and several other familiar races – including one who may be a Xindi. Missing from the summit, however, were races like the Klingons and factions like the Dominion. It’s possible that there have been major structural changes to those governments, or that diplomatic relations with the Federation are poor. Discovery may also be avoiding their use with a view to bringing them back in a future story – or to give room for the likes of Picard or Strange New Worlds to include these factions.

This character was a callback to the events of Kobayashi Maru.

Stamets flipping the issue of trust onto Zora was a clever one, and a great rhetorical way to begin to bring that argument to a close. Dr Kovich’s line that Stamets could have been reassigned if he couldn’t work with Zora was clever – but then who would have operated the Spore Drive? Saru and T’Rina make an adorable couple, and although I wouldn’t consider either Doug Jones or Tara Rosling to be “old,” it was still sweet to see Discovery giving screen time to a burgeoning romance between two people who aren’t 25 any more!

So I think that’s about all I have to say for now. Stay tuned, because later in the week I’ll be writing up my theories for the second half of the season. It’s only six weeks, but I really can’t wait to find out what happens next! The DMA and Unknown Species 10-C still present wonderful mysteries, and although my head says what we’ll ultimately get will be something brand-new to the franchise, my heart is still hopeful that there’ll be some kind of big connection or callback to a past iteration of Star Trek!

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.

Looking ahead to 2022

Happy New Year! As we mark the first day of 2022 (and recover from the last night of 2021) I thought it could be fun to look ahead to some of the entertainment experiences that lie before us this year. There are a plethora of films, games, and television shows on the horizon, and there are sure to be plenty of surprises and new announcements to come as well. On this occasion I’ve picked out ten films, video games, and television shows that I’m personally looking forward to in 2022.

The ongoing pandemic has caused a number of delays, and while most of these titles feel like a safe bet, it’s still possible that additional disruption will mean that we won’t see them all before the end of the year. The further out we get, the more likely such changes are – so titles which are currently aiming for a November or December release could end up slipping back to 2023.

Let’s jump into the list!

Film #1:
Morbius

Up first we have somewhat of a rarity: a Marvel film that I’m actually slightly interested in! Morbius will star Jared Leto as a mad scientist who inadvertently turns himself into a vampire. The film isn’t actually part of the main Marvel Cinematic Universe, as it’s being produced by Colombia and Sony – the latter company having the license to Spider-Man.

From my point of view, the fact that the film isn’t part of the MCU is no bad thing. Keeping up with every Marvel project increasingly feels like a full-time job considering the shared nature of the universe and the frequency of crossovers. So perhaps Morbius will be able to be enjoyed as more or less a standalone piece. I know nothing about the character or comic book source material – but I’m hoping it’ll be a fun, action-packed, slightly spooky adventure.

Film #2:
Lightyear

I was surprised by the trailer for Lightyear – the film looks so much more fun and interesting than its premise alone would have suggested! An “origin story” for Buzz Lightyear, the film purports to show us why Buzz Lightyear figures were so popular in the world of Toy Story! I noted many different visual and thematic elements from mid-century, retro sci-fi; kind of similar to the theme of the Tomorrowland park at Disneyland.

Chris Evans is set to take on the title role, and I’m genuinely looking forward to Lightyear. The film seems to have an element of mystery to it, and from the trailer it looks set to be an exciting adventure with a fun visual style. Check out my full thoughts on the trailer by clicking or tapping here.

Film #3:
The Unbearable Weight of Massive Talent

Nicolas Cage is going to play an exaggerated, fictionalised version of himself in a film that looks set to be hilarious – and full of meme potential! I honestly thought this was a joke when I first heard about it, but the trailer already had me laughing out loud. Cage has developed a self-awareness, leaning into his reputation for making B-movies, and I think the result can only be hilarity.

In short, The Unbearable Weight of Massive Talent is either going to be great… or it’s going to be one of those “so bad it’s good” films. There’s simply no in-between! Oh, and The Mandalorian star Pedro Pascal is also in it alongside Cage.

Film #4:
Moonfall

Disaster films are somewhat of a guilty pleasure of mine. They’re usually so far-fetched and over-the-top, but they can also be dramatic and exciting; perfect popcorn fare and a fun way to kill a couple of hours. Roland Emmerich has directed some fun ones: 2012 and The Day After Tomorrow spring to mind first and foremost. So I’m very curious to see what his latest sci-fi/disaster flick will be all about!

The premise sounds bonkers: the moon gets knocked out of orbit and is on a collision course with Earth. The film promises that the moon “is not what we think it is” … so let’s find out what the moon really is, I guess!

Film #5:
Avatar 2

The first of four planned sequels to 2009’s Avatar is scheduled for release in December this year. After more than thirteen years, James Cameron has quite a task on his hands to get people re-engaged with the fictional universe that he created, but if anyone can pull it off it’s him. Despite being an enjoyable film in its own right, Avatar never quite succeeded to the extent Cameron (and 20th Century Fox) hoped, failing to really break into the top tier of sci-fi franchises.

Avatar 2 is the first of four opportunities to change the narrative. There’s always room, in my opinion, for new sci-fi, and Avatar had some successes with its world-building. There are open questions left over from the first film – and although I’m by no means an Avatar superfan, I’m curious to see where the story will go next.

Film #6:
Untitled Super Mario Movie

The Super Mario Bros. film that was a shock announcement at a recent Nintendo Direct broadcast still doesn’t have an official title, but it’s targetting a release around the holiday season (I know we’re still processing Christmas 2021, but still!) Featuring an all-star cast including Chris Pratt, Anya Taylor-Joy, and Jack Black as Bowser, this has the potential to succeed where the 1993 version… didn’t.

Nintendo seems to have invested a decent amount of money into the project, and with a story and animation style that will hopefully be closer to the video game series than the 1993 attempt, this could be the unexpected hit of Christmas 2022!

Film #7:
Uncharted

The adaptation of the Uncharted video game series will star Spider-Man’s Tom Holland as adventurer (and discount Indiana Jones) Nathan Drake – and if you’ve been a regular around here for a while, you might recall that it made my list of films to watch in 2021 last January! But after being delayed, Uncharted looks all but certain to get a release this year (one way or another).

I had fun with the Uncharted video games on PlayStation 3 and PlayStation 4. I’m cautiously interested to see how well the adaptation will work – condensing the story of even one video game into the runtime of a single film can be tricky. But I think there’s the potential for a solid action flick if all goes according to plan.

Film #8:
Jurassic World: Dominion

The legacy of Jurassic Park continues with the third entry in the reboot Jurassic World series, with Chris Pratt and Bryce Dallas Howard reprising their roles. Details of the plot are sparse at this stage, with director Colin Trevorrow keeping a lid on things, but if the story picks up in the aftermath of Jurassic World: Fallen Kingdom then we can expect to see dinosaurs roaming free – and not just in their island park!

A lot of fans are excited for the return of the original trio of characters: Sam Neill as Dr Alan Grant, Laura Dern as Ellie Sattler, and Jeff Goldblum as Ian Malcolm will all be making appearances in the film. An extended trailer (called the prologue) was recently released, and it’s well worth a watch!

Film #9:
Everything Everywhere All At Once

Michelle Yeoh (Star Trek: Discovery’s Philippa Georgiou) stars in this very weird-looking film about a woman who can cross over to infinite parallel universes. Evelyn seems to be tasked with saving the entire multiverse from an unknown threat, travelling to different realities and exploring different versions of herself and her own life.

The trailer was chaotic, and the plot may be tricky to follow, but Everything Everywhere All At Once looks like a wild, bonkers ride. It could be a ton of fun, so it’s one I shall watch with interest!

Film #10:
Sonic the Hedgehog 2

2020’s Sonic the Hedgehog exceeded my (admittedly rather low) expectations, and in a pandemic-disrupted year was actually one of the few cinematic highlights. Following its success will be no easy task for this sequel, but there’s definitely potential in this return to the universe of Sega’s cute mascot.

The stars of the first film (including Jim Carrey) will be returning, and the addition of other characters from the Sonic franchise looks set to expand the fun.

Video Game #1:
Six Days In Fallujah

Six Days In Fallujah is a controversial game. It intends to depict, in as realistic a manner as modern games engines will allow, the Second Battle of Fallujah, which took place in 2004. I was surprised to see the extent of the backlash that the game’s announcement received last year, not just from the expected sources like right-wing politicians, but from some games commentators and gaming outlets too.

In short, I think that it’s important to create art, particularly when the subject matter it tackles is difficult or controversial. It’s possible that Six Days In Fallujah will add nothing to the conversation around the Iraq War, but it’s equally possible that we’ll get something more than just mindless shooting. Video games can be art, and art can and should tackle difficult and complex topics. To see my full thoughts on Six Days In Fallujah, click or tap here.

Video Game #2:
Avatar: Frontiers of Pandora

Avatar: Frontiers of Pandora was a surprise announcement at last year’s E3, but with the Avatar sequels kicking off this year it makes a lot of sense to have a video game tie-in of some kind as well. Frontiers of Pandora doesn’t seem like it will be a direct adaptation of either the first or second films in the series, but rather a standalone title.

The world of Avatar seems well-suited to a video game adaptation, and with Ubisoft’s resources at its back there’s potential in this title. Taking on the role of a Na’vi warrior sounds like fun, and I’m definitely going to check out Frontiers of Pandora when it’s ready.

Video Game #3:
Mario Kart 9

At this stage there’s been no announcement of a new game in the long-running Mario Kart series. But Mario Kart 8 was released almost eight years ago, and with 2022 being the series’ 30th anniversary, the timing feels right for a new game. Nintendo loves to celebrate anniversaries with big releases, after all!

Mario Kart 8 has been one of the Switch’s big sellers since the console’s launch. But the game has a limited roster of tracks and playable characters, and after such a long wait in between titles, a growing number of players are looking for something new. 2022 would be a great time to launch Mario Kart 9 – so watch this space.

Video Game #4:
Stray

Stray is a game that lets you play as a cat. Do I need to say more? Publisher Annapurna Interactive has a great track record, having released wonderful and emotional narrative journeys like What Remains of Edith Finch and Gone Home. Indie developer Blue Twelve Studio has been working on the game for a while, and its unique premise and beautiful setting have already piqued my interest!

The game entices players to unravel an ancient mystery and figure a way to escape a decaying cyberpunk city populated by robots. The stray cat at the centre of the game will have their own robot companion, too. This game looks adorable – but it also has an unsettling, otherworldly feel that could make for a fascinating and unique adventure.

Video Game #5:
Star Trek: Resurgence

I’d been desperately hoping for a new single-player Star Trek game for years; it’s been almost a decade since the last one failed miserably. With Star Trek being back on our screens in a big way, I’m glad that ViacomCBS is finally licensing video games again. Resurgence is the single-player story-driven game I’d been hoping for – and the trailer looked great!

New developer Dramatic Labs has pedigree – many of its employees used to work for Telltale Games, whose narrative adventures were highly-praised. Telltale worked on a number of adaptations, including Batman and Game of Thrones, so Dramatic Labs seems perfectly positioned to bring a brand new Star Trek game to life. I’m really rooting for Resurgence to be a success.

Video Game #6:
Starfield

Starfield has been in development for almost a decade. Bethesda had ideas for space-themed games going all the way back to the 1990s, and even pitched a Star Trek game at one point, so in a sense Starfield has been a very long time coming! At 2021’s E3, the company was finally able to announce a release date, and while details about the game are still sparse, we have begun to learn a little more about some of the factions and locales.

Bethesda chief Todd Howard has literally promised players “Skyrim in space,” so Starfield has big shoes to fill! After Bethesda has stumbled in recent years with the likes of Fallout 76, the game also has a lot of work to do to rehabilitate the company’s image. Anything less than an exceptional game could leave the Microsoft-owned studio in trouble. I want to be excited for Starfield… but I’m trying to avoid boarding the hype train.

Video Game #7:
Saints Row

I initially wrote off the Saints Row games as being “Grand Theft Auto knock-offs,” but the truth is that they’re so much more than that. The setup is unquestionably similar – players take on the role of a criminal in an open-world city – but developers Volition brought a distinctly comedic style that made the original Saints Row and its sequels stand out.

Saints Row is a reboot, one which will supposedly bring the game back to its roots. Given that Rockstar seemingly still has no plans to release Grand Theft Auto 6 any time soon, Saints Row could be the game that scratches that open-world itch.

Video Game #8:
Test Drive Unlimited: Solar Crown

It’s been almost a decade since the last Test Drive game was released, so Solar Crown is coming late to the party! But following on from the success of other open-world racing games (like Forza Horizon 5, for example) it could be well-placed to take the racing crown this year.

Solar Crown is set in Hong Kong, and developers KT Racing have promised a 1:1 full-scale recreation of the entirety of Hong Kong island. That sounds incredibly ambitious, but I’m hopeful that they can pull it off. The result could be one of the best racing games in a long time.

Video Game #9:
Pharaoh: A New Era

I adored Pharaoh in the early 2000s. An Ancient Egyptian-themed city building game, it had all of the micromanagement you’d expect from a game of that type, but with additional features derived from its setting. For example, the Nile river could flood – so making use of flood plains became an essential gameplay element.

Pharaoh: A New Era aims to bring the game into the modern day, updating its graphical fidelity but retaining the original game’s trademark visual style and gameplay. I think it has a lot of potential to be a wonderful nostalgia trip for me – and if you missed the original twenty years ago, it could be brand-new fun for you!

Video Game #10:
Star Wars Jedi: Fallen Order II

At this stage we don’t know whether Jedi: Fallen Order II is even in development – though it’s heavily rumoured to be well underway. It’s a possibility for 2022, though, so I’ll be keeping my fingers crossed waiting for an official announcement. After the disappointment of Battlefront II and The Rise of Skywalker, Jedi: Fallen Order did a lot for the Star Wars franchise. It was an engaging story with some great characters – most of whom should be returning.

I’m really interested to see where Cal Kestis and his friends will go next. What adventures lie in store for them? And will we find out their ultimate fate – perhaps explaining why Cal and the others played no part in the Rebellion or the events of the Star Wars films? So many questions… but I’ll settle for another fun Star Wars adventure, even if it doesn’t answer all of them!

TV Series #1:
House of the Dragon

Despite being underwhelmed by the first trailer (and bitterly disappointed by the final season of Game of Thrones) I’m nevertheless curious to see what House of the Dragon will bring to the table. The new series has the not insignificant challenge of proving that Game of Thrones wasn’t a one-hit wonder, and that Westeros truly can be expanded into an ongoing franchise.

Honestly? The jury is still out. The television landscape has changed immeasurably since Game of Thrones’ 2010 debut, and in the big-budget high fantasy genre, House of the Dragon will face some serious competition. There’s potential in the series… but right now, I can muster curious interest rather than outright excitement.

TV Series #2:
Star Trek: Picard Season 2

After a longer-than-planned pandemic-enforced break, Picard will finally be back on our screens before too long. It isn’t clear yet whether Discovery’s unexpected mid-season break will delay Picard Season 2 from its planned February premiere, but that seems likely. Regardless, time travel and old adversaries are on the agenda for Jean-Luc Picard and the crew of La Sirena.

I confess that time travel stories aren’t always my favourites in Star Trek, so I’m perhaps less excited for Picard Season 2 than I hoped I might be. But a chance to spend more time with Picard himself, especially after the wonderfully complex presentation of the character in Season 1, is something that I’m truly looking forward to.

TV Series #3:
Star Wars: Obi-Wan Kenobi

There’s a lot of Star Wars content to come this year! Obi-Wan Kenobi is taking place in between the prequel and original trilogies, and will see Ewan McGregor reprise his role as the famed ex-Jedi. What adventures will he be able to have during his exile on the planet of Tatooine? And will those adventures feel natural or tacked-on? I guess we’re about to find out!

McGregor’s portrayal of Obi-Wan Kenobi was definitely one of the better elements of the prequel films. I’m not sure I’d have chosen to make this series if I were making the big decisions for Disney and Lucasfilm, but I hope to get a fun action or drama series that respects the boundaries of the original 1977 film and doesn’t tread on its toes.

TV Series #4:
Amazon’s Lord of the Rings

This series made my list last year, as I had originally expected to see it in 2021. Amazon has found some success with its adaptation of The Wheel of Time, but in a sense that show feels like an appetiser before the main course! Few other properties have such potential to bring in audiences as Tolkien’s Middle-earth, and there’s going to be a huge amount of interest in what is going to be the most expensive television series ever made.

With so little information about the characters or plot, it’s hard to know what to expect. The series isn’t going to be a new adaptation of any of the familiar books, instead drawing on a period in Middle-earth’s Second Age, millennia before the events of The Hobbit and The Lord of the Rings. Amazon appears to be greatly influenced by Game of Thrones in the way the show’s casting and production have been handled; hopefully that’s a good thing!

TV Series #5:
Star Wars: Andor

A prequel to a prequel, Andor will focus on the character of Cassian Andor who was first introduced in 2016’s Rogue One. A Star Wars story that steps away from the Jedi and the Force is something I’ve been hoping the franchise would do more of for some time, and I feel that Andor could be a good vehicle to show us more about the Star Wars galaxy away from space magic.

The series may also show us a bit more about the early days of the Rebel Alliance, something we glimpsed in Rogue One. As a standalone piece it could be an interesting and dramatic spy thriller – and I’m hopeful that it’ll be entertaining at the very least.

TV Series #6:
Foundation Season 2

Season 1 of Foundation may not have been perfect, but it broadly succeeded at adapting a fairly dense work of sci-fi, bringing it to the small screen in an understandable way. Jared Harris put in a wonderful performance, and this complex story with some pretty deep themes ended up as a thoroughly enjoyable season of television.

We already knew that Apple TV+ had greenlit a second season of the show, and production has already begun. If Foundation can do more of the same, it’ll be a fine addition to this year’s television lineup.

TV Series #7:
The Last Of Us

The Last Of Us is one of the finest video game stories I’ve ever played through. It’s a vivid, dramatic, and occasionally harrowing story of a road trip across a hauntingly beautiful post-apocalyptic United States. Its central conceit of mushroom zombies may sound silly, but the cordyceps infection serves as the backdrop to set up an amazing character-focused story. And now it’s being adapted for television.

A TV show will suit the long and complex narrative far better than a film ever could, so in that sense I think the right decision has been made. I don’t know whether the story will be broken down into seasons or whether The Last Of Us will try to tell the entire story of the game this year – I guess we’ll have to wait and see.

TV Series #8:
Tokyo Vice

I’ve been greatly looking forward to this adaptation of a true story. Journalist Jake Adelstein spent part of his career in Japan working on crime stories in Tokyo, and his book told the true story of working for a large Japanese newspaper and the various cases and investigations he was part of.

HBO has a great track record when it comes to these short-format miniseries, and I think that Tokyo Vice has the potential to be 2022’s answer to the likes of Chernobyl – a true story adapted in a dramatic and exciting way.

TV Series #9:
The Wheel of Time Season 2

Amazon’s second high fantasy series on this list already has a full season under its belt. I enjoyed The Wheel of Time’s debut season, even though the story was quite cluttered and may have been hard to follow for some viewers. With more than a dozen books in the series left to adapt, Season 2 has its work cut out to keep up the pace.

The Wheel of Time had some great moments of characterisation and some well-crafted visual effects. Combined with a strong story I feel that the series is off to a good start – even if not every critic agrees. With Amazon’s own Lord of the Rings adaptation coming this year, Season 2 will be drawing comparisons to that show whether it wants to or not. Time to step up!

TV Series #10:
Star Trek: Strange New Worlds

More than three years after Ethan Peck and Anson Mount won the hearts of Star Trek fans during Discovery’s second season, the highly-requested “Captain Pike show” is finally going to be broadcast! Strange New Worlds has promised Trekkies a return to a more episodic format, and the show could be the one to finally hook in the remaining holdouts who have been unimpressed with the franchise’s recent output.

This isn’t a ranked list, but Strange New Worlds is probably the show I’m most looking forward to this year – assuming it will be available to watch here in the UK. ViacomCBS doesn’t have a good track record when it comes to making its shows available outside of North America! But if that hurdle can be surmounted, I have high hopes indeed for Strange New Worlds.

So that’s it!

As we look ahead to some of the entertainment experiences of 2022, there’s a lot to be hopeful for. As a Trekkie, 2022 is arguably one of the biggest and most important years for the franchise in a very long time. Not only are there new and ongoing shows, but a brand-new video game and an increase in merchandise too. All of these things will hopefully cement Star Trek as ViacomCBS’ main franchise, securing its future in the longer term. I’ll be doing my best to support Star Trek this year – as long as ViacomCBS does its part too.

I hope you had an enjoyable New Year’s Eve! Now that the holiday season is more or less over, things can start to settle down and get back to normal. I adore the Christmas season, but it’s also nice to be able to unwind after what can be a stressful time of year.

All titles listed above are the copyright of their respective owner, company, studio, broadcaster, developer, distributor, publisher, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

End-of-Year Awards 2021

Spoiler Warning: Minor spoilers may be present for some of the entries on this list.

It’s the end of 2021, so it’s time to look back on a few of the entertainment highs (and lows) of the year! Like I did last year, I’ve picked out a few of my favourite entertainment experiences from the worlds of cinema, gaming, and television, and I’ll be giving each a totally official Trekking with Dennis award!

Most categories have a winner and a runner-up; some just have one title and in those cases they’re the winners by default. I’ve put Star Trek episodes into their own category, otherwise I’d just be saying that every TV show that I liked this year was Star Trek!

Caveat time! Obviously I haven’t watched or played anywhere close to everything that was published or released this year! The exclusion from these awards of titles such as The Last Duel or For All Mankind doesn’t mean they aren’t good; I just have no experience with them so I can’t comment. It goes without saying that everything here is entirely subjective! This is just one person’s opinion – so feel free to disagree vehemently with some or all of my choices!

With that out of the way, let’s get started!

Best Documentary:

🏆 Winner 🏆
Half-Life Histories series; Kyle Hill

There have been some interesting documentaries this year, but I wanted to highlight a semi-professional series that has been quietly ticking up views on YouTube. Kyle Hill has crafted a series of absolutely fascinating documentaries about nuclear power, nuclear weapons, and nuclear accidents – some of which were familiar to me, but several of which actually weren’t.

Nuclear weapons are an incredibly controversial topic, of course, but nuclear power is something I firmly believe that we as a species need to embrace. At least in the short-to-medium term, nuclear power offers a reliable way for humanity to meet our growing power needs while phasing out fossil fuels.

Kyle Hill’s documentaries show how early nuclear experiments could and did go wrong, but they aren’t alarmist. Hill has a gentle, almost understated style that tells these serious (and occasionally fatal) stories with due dignity and gravitas, but without sensationalising the events in question. For anyone interested in the likes of the Chernobyl disaster or the early history of nuclear weapons and nuclear power, the entire series is well worth a watch.

Best Web Series:

🥈 Runner-Up 🥈
The Jimquisition; Jim Sterling

I’d like to highlight a fellow non-binary creator here. Jim Sterling – also known as James Stephanie Sterling – is a video games critic on YouTube. Their main weekly series, The Jimquisition, often highlights bad practices in the games industry and draws attention to misbehaving corporations. The Jimquisition was one of the first shows to criticise the practice of lootboxes a few years ago, for example, and this year Sterling has worked relentlessly to call out the likes of Ubisoft and Activision Blizzard.

Too many publications – even blogs and social media channels – now work hand-in-glove with big corporations in the video games industry, leading many so-called independent publications to, at the very least, be cautious in what they say about both their corporate friends and the games they review so as to maintain their level of access. The Jimquisition has always been different because it’s self-funded, leaving Sterling free to criticise as they see fit.

On a personal note, seeing Jim Sterling come out as non-binary was one factor among many as I made my own decision earlier this year to discuss my gender identity in public for the first time, and I want to thank them for their brave decision.

🏆 Winner 🏆
Tasting History with Max Miller

There really isn’t anything quite like Tasting History. There are a plethora of cooking shows and channels online – many of which are fantastic! And there are some great history shows as well, everything from mini-documentaries to living history re-enactments. Tasting History blends these two things together, as host Max Miller cooks a variety of different historical dishes, and uses those as an entry point to talk about some of the historical events and personalities associated with the food.

I love history and I love cookery shows, so Tasting History is absolutely the kind of thing that was going to appeal to me! But a fun premise alone wouldn’t be enough, and Tasting History has a well-spoken host who makes both sides of the show entertaining as well as interesting. I’ve learned a lot about different dishes and historical cultures this year, things I never would have found out about if not for Tasting History.

Best TV Special:

🥈 Runner-Up 🥈
Lego Star Wars: Terrifying Tales

After 2020’s Lego Star Wars Holiday Special had been a ton of fun, I was pleasantly surprised to see Disney+ bringing back Lego Star Wars for another outing this year. Terrifying Tales was a fun Halloween special, one which drew on many classics of the thriller and horror genres for inspiration while maintaining a child-friendly atmosphere. I’m not a huge fan of horror, so this lighter tone was just perfect for me!

Focusing on Poe Dameron, Terrifying Tales used a frame narrative to tell three different spooky stories set in all three of the Star Wars franchise’s main eras. The first short, which focused on Kylo Ren, contained more backstory for the character than the entire sequel trilogy – and I would argue that it was actually better than the minuscule character development that Kylo/Ben Solo got in the films!

Palpatine was hilarious in the vignette that featured him, and I adored the way that Terrifying Tales used the character. The third and final vignette was a parody of a Twilight Zone episode and featured Luke Skywalker, and that was pretty fun to see as well. Overall, Terrifying Tales was a cute, funny, and lightly spooky way to get ready for Halloween!

🏆 Winner 🏆
The Grand Tour: Lochdown

As we approach the pandemic’s second anniversary, we need things like Lochdown to poke fun at what’s been going on in the world. In a unique way that only Hammond, Clarkson, and May can really pull off, The Grand Tour’s special episode made a trip to Scotland one of the funniest and most entertaining bits of television I enjoyed all year.

The trio have found great success at Amazon, and free from the constraints of the BBC (both financially and in terms of content), I’d argue that The Grand Tour is leaps and bounds ahead of Top Gear. As the show has switched its focus to these kinds of special episodes, there’s been a lot of fun to be had!

I’m not really a car person. Cars have always been a means to an end for me; a mode of transportation. But the enthusiasm of the three hosts for their vehicles is infectious, and the fun they have on their wacky adventures always manages to succeed at pulling me in and making me feel like I’m right there with them.

Worst TV Series:

🏆 “Winner” 🏆
Rick and Morty Season 5

After four pretty strong and funny seasons, Rick and Morty stumbled this year. It felt to me like the writers had become a little too aware of the show’s success and place in pop culture – and didn’t really know how to handle that. Season 5 was bland and forgettable, with several episodes that didn’t even win a smile, let alone a laugh.

Rick and Morty crossed over from being a fun series with a cult following and really hit the mainstream somewhere around its third season, and clearly that’s been a double-edged sword. Too many of the attempted jokes this year came across as either desperate or else simply as gross-outs or edginess for the sake of it.

Though the show had a few successful moments, such as the scenes between Rick and Birdperson toward the end of the season, Season 5 has to be considered a failure.

Best TV series:

🥈 Runner-Up 🥈
Foundation

The first season of Foundation was imperfect but nevertheless good. The novels upon which Foundation is based are incredibly dense works that can, at points, feel more like philosophy than sci-fi, so bringing something like that to the small screen was no small challenge – but Apple TV+ stepped up.

Jared Harris put in a wonderful performance as Hari Seldon, and was joined by several actors with whom I was less familiar – but who all did an outstanding job. Foundation is also a visually beautiful series, one which makes great use of Apple’s high CGI budget. A second season has already been confirmed – so that’s something to look forward to in 2022!

🏆 Winner 🏆
The Wheel of Time

The Wheel of Time was the first of Amazon’s two big-budget fantasy shows to make it to screen. We’ll have to wait until next year for the corporation’s Lord of the Rings prequel/adaptation, but The Wheel of Time is definitely a show worth watching in its own right. It has struggled, at times, to break out from the shadows of both Game of Thrones and the aforementioned Tolkien adaptation, but I’m so glad that I gave it a chance to impress me on its own merits.

Outside of the Star Trek franchise, The Wheel of Time is unquestionably the best television show I’ve seen all year. Amazon managed to adapt the first part of a long and complex story in a way that was understandable and easy to follow, bringing a new high fantasy world to the screen for the first time. There are some fantastic performances from Rosamund Pike and Madeleine Madden in particular, making The Wheel of Time a series to get lost in.

The first season concluded recently, and a second is already on the way! I can hardly wait.

Worst Video Game:

🏆 “Winner” 🏆
Mass Effect: Legendary Edition

This is a difficult one. There were plenty of bad games this year – games with horribly intrusive monetisation, overladen with bugs, or that just plain sucked. But for me, the year’s most egregious video game failure is a so-called “remaster” that was lazy, that didn’t feel like much of an upgrade, and that left me incredibly disappointed when I consider what might have been.

Mass Effect: Legendary Edition contains a number of bugs that were present in the original versions of its three constituent games; bugs that BioWare failed to fix. Its visual upgrade, coming less than ten years after the third game in the series, was already going to be a hard sell, but there seem to be many textures that BioWare either didn’t touch at all or else did the absolute bare minimum to.

And that’s Mass Effect: Legendary Edition in a nutshell: it’s a “remaster” that tried to get away with doing the absolute bare minimum. The sad thing is that I adore the Mass Effect games – but this version was so much less than it should’ve been.

Best Video Game:

🥈 Runner-Up 🥈
Road 96

Road 96 is quite unlike anything else I’ve played all year – and probably for quite a long time before that too! The game focuses on characters, introducing players to dozens of completely unique NPCs during a branching quest to escape a totalitarian state. It’s a road trip game… but that definition scarcely does it justice.

Road 96 has a beautiful art style, too, one that really brings to life its characters and American Southwest-inspired locales. There’s a wonderful soundtrack that accompanies the game, one with a definite ’80s inspiration – which I’m totally there for! It’s hard to go into too much detail without spoiling Road 96, and it’s an experience I really think you should try for yourself in as unspoiled a manner as possible.

🏆 Winner 🏆
Kena: Bridge of Spirits

When I was thinking about my pick for “game of the year,” there was never any doubt in my mind that Kena: Bridge of Spirits would take the trophy. It’s one of the most visually beautiful games that I’ve ever played, bringing an almost Disney-esque art style to life in the most fantastic way possible.

Kena: Bridge of Spirits is a modern-looking game with a distinctly old-school feel to it. The game combines elements of puzzle-solving and 3D platforming with some tight, focused combat, and the addition of the Rot – little critters that accompany Kena – is both adorable and incredibly useful. Collecting things in video games can feel like busywork, but because Kena’s power grows with every Rot she picks up, even this aspect of the game manages to feel worthwhile.

Kena: Bridge of Spirits had been one of my most-anticipated games of the year. It didn’t just meet my expectations – it surpassed them by a country mile.

Worst Film:

🏆 “Winner” 🏆
Zack Snyder’s Justice League

Zack Snyder’s Justice League is a film that tried to be dark and edgy and in doing so ended up robbing its source material of any of the fun and entertainment value it could’ve had. DC Comics has struggled to compete with Marvel, failing to recognise that it’s Marvel’s blend of humour and action that makes those films so appealing to many viewers. Zack Snyder’s Justice League is a case in point – and a great example, in my opinion, of a film that completely misses the mark.

Perhaps to distinguish it from the likes of The Avengers, Zack Snyder’s Justice League was packed with gimmicks, too. An incredibly dark and boring colour palette drowned the film in grey, black, and brown tones, and some scenes were so poorly-lit that following the action became difficult. It was also shot in a weird 4:3 aspect ratio – again, seemingly for the sake of a gimmick.

I’m genuinely happy for fans of DC who worked hard to secure the so-called “Snyder Cut” after a long campaign. But the end result was, for me, the worst film I’ve seen all year. And this was a year where I watched Space Jam: A New Legacy.

Best Film:

🥈 Runner-Up 🥈
Raya and the Last Dragon

I paid a lot of money (by my standards, at least) to watch Raya and the Last Dragon on Disney+! Maybe I should’ve waited the extra couple of months, but I was genuinely interested to see the latest big Disney animated picture. The one surprise was the lack of any musical numbers, but despite that I had a good time with Raya and the Last Dragon.

Kelly Marie Tran put in an outstanding performance as the titular Raya, a young woman on a quest to restore the life of a dragon and reunite a fractured land loosely based on Southeast Asia. The film was dramatic and exciting, with a fun cast of characters. It’s also noteworthy that all of the main characters – heroes and villains – were women.

Now that it’s on Disney+ (and out on DVD and Blu-Ray) it’s definitely worth a watch.

🏆 Winner 🏆
Dune

I was worried that Dune would once again prove to be too difficult to adapt, but I was thrilled to see that I was wrong! Dune is a sci-fi masterpiece, and if its second instalment comes anywhere close to living up to this first part, I think we’ll be talking about the duology alongside the likes of The Lord of the Rings in years to come as being an absolute classic.

Dune is a long and occasionally dense book, so condensing it down and keeping a cinematic adaptation with a large cast of characters easy to follow was no mean feat. Director Denis Villeneuve did an outstanding job, and every aspect of the film, from its dialogue to its visual effects, are pitch-perfect.

I’ve had a review of this one in the pipeline for a while, so stay tuned in the new year – I might finally get around to finishing it!

Most Exciting Announcement:

🥈 Runner-Up 🥈
Wicked

Picture Credit: Wicked the Musical London.

I was very lucky to have seen Wicked on the stage in London early in its run, and the soundtrack has to be up there as one of the best modern musicals. The announcement of a film adaptation came as a truly welcome surprise this year, and I will follow its progress with anticipation!

A spin-off from The Wizard of Oz, Wicked purports to tell the story from “the other side” – i.e. the Wicked Witch’s point of view. Disney in particular has shown in recent years that this concept can work exceptionally well, and Wicked pulls it off. The musical and the book that inspired it are very different, but both are enjoyable in their own ways – and I hope the film will be as well!

🏆 Winner 🏆
Star Wars: Knights of the Old Republic Remake

Early in 2021 there were rumours of a Knights of the Old Republic game being in development, but it wasn’t until September that its existence was finally confirmed. A full-scale remake of the first game in the series is being worked on, and the idea of being able to go back and replay one of my favourite Star Wars games of all time is a truly exciting one!

So far all we’ve seen has been a CGI teaser, so the game is probably a couple of years away. But it’s still good to have something like this to look forward to! After several years of very limited success under Electronic Arts, Star Wars games are now being tackled by more developers and publishers – meaning we should see more from the franchise in the years ahead. I’m keeping my fingers crossed for a remake of Knights of the Old Republic II after this one!

Best Star Trek Episode:

🥈 Runner-Up 🥈
There Is A Tide…
Discovery Season 3

There Is A Tide is basically “Star Trek does Die Hard!” If that sounds like fun to you, then we are definitely on the same page! Featuring a desperate plan to re-take the USS Discovery following its capture by a villainous faction, Michael Burnham, Tilly, and several members of the bridge crew all get their chances to be action heroes.

It isn’t an entirely self-contained episode, as it brings to a head Starfleet’s conflict with the aforementioned villainous faction that had been running for much of the season, as well as containing other ongoing story threads. But it works well as a single episode, too, with an explosive and action-packed story that feels like it was lifted right out of an action blockbuster!

There Is A Tide is a great episode for Michael Burnham, but it’s also good for Admiral Vance as well. He truly seems to embody the values that Starfleet and the Federation have always held, and anyone who feels that Discovery has placed less of an emphasis on that should pay attention to Vance’s scenes in particular.

🏆 Winner 🏆
First First Contact
Lower Decks Season 2

First First Contact is an incredibly well-done episode of Lower Decks. The series’ trademark sense of humour is still present, but we see the entire crew of the USS Cerritos working hard to overcome an incredibly difficult challenge and save not only an ailing Starfleet ship but also an entire planet. The crew rise to the occasion as we always knew they could, and First First Contact hits all of the emotional highs you could ever want from an episode of Star Trek.

It’s also an episode that truly embraces the spirit of the franchise. The Cerritos’ crew aren’t faced with some horrible monster or alien to defeat, instead the puzzle that lies before them is scientific – and the solution to it has to be as well. All of the main and secondary characters get moments in the spotlight, and First First Contact even found time to further advance the relationship between Ensign Mariner and Captain Freeman.

Finally, there was an incredible moment of symmetry toward the end of the episode, as the Cerritos saved the day in a very similar fashion to how it had to be saved in the Season 1 finale. That moment was pitch-perfect – and I won’t lie… I teared up!

So that’s it!

We’ve dished out a handful of awards to some of the best – and worst – entertainment experiences of the year. 2021 is a difficult one to summarise. The ongoing disruption caused by the pandemic has been noticeable, with delays and even some cancellations getting in the way and spoiling the fun. But there were some fantastic projects across cinema, television, and video games too – including some brand-new titles that I feel have the potential to lead to ongoing franchises, or to be talked about a lot in future as classics of their various genres.

As 2022 approaches, I hope you’ll stay tuned for a lot more to come from Trekking with Dennis! In the days ahead I plan to look forward to some of the films, games, and television shows that we could enjoy throughout the coming year, so definitely stay tuned for that! And I have a number of reviews and other articles in the pipeline.

So the only thing left to do is to wish you a very Happy New Year! Whatever you have planned for tonight, I hope you have an amazing time. See you next year!

All titles listed above are the copyright of their respective owner, company, studio, broadcaster, developer, distributor, publisher, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.


Check out reviews or articles featuring some of the films, games, and TV shows mentioned on this list by clicking or tapping the links below:

Lego Star Wars: Terrifying Tales

Rick and Morty Season 5

The Wheel of Time

Mass Effect: Legendary Edition

Kena: Bridge of Spirits

Zack Snyder’s Justice League

Raya and the Last Dragon

Wicked

Knights of the Old Republic Remake

Discovery 3×12 There Is A Tide…

Lower Decks 2×10 First First Contact

Star Trek: Discovery theories – week 6

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4, Star Trek: Picard Season 1, Short Treks, and for other iterations of the Star Trek franchise.

Stormy Weather does, on the surface at least, appear to have narrowed things down as Discovery approaches its unexpected mid-season break. As we’re barely at the halfway point, though, I’m not convinced that everything is as it seems! There are many possible explanations for the DMA having passed through the galactic barrier, and despite the assertions from some characters that Unknown Species 10-C must be someone that the Federation has “never encountered before,” there are still several highly plausible culprits who could be responsible!

So let’s jump into the theory list. At this stage, the list is actually fairly static. Stormy Weather didn’t confirm or debunk anything from previous weeks, and I’ve really just got one new theory – one that isn’t even connected to the events of the episode! However, several theories have seen movement, and while some may be close to being debunked I’m not ready just yet to strike off any of them.

Theory #1:
Captain Burnham’s war experiences from Season 1 will come into play.

Michael Burnham in Season 1.

At the beginning of Season 1, Michael Burnham made a series of mistakes (to put it mildly). Though she wasn’t responsible for the outbreak of war between the Federation and Klingon Empire, she was blamed for it for a long time. Her aggressive actions toward the Klingons, wanting to fire the first shot in a very un-Starfleet manner, proved to be a very costly learning experience for her. Having seen three-and-a-half seasons of growth and development since, I’m sure Captain Burnham has taken those lessons to heart.

Starfleet is currently assuming that the DMA is a weapon and that whoever created it has hostile intentions. That seems reasonable, and it’s sensible in many ways to plan for worst-case scenarios. But an aggressive faction building a super-weapon is only one potential explanation for the existence of the DMA – and someone like Captain Burnham, who once made the mistake of being too aggressive in the face of the unknown, seems well-placed to argue for a mission of first contact rather than jumping straight into a war.

In short, my theory is that Captain Burnham will be one of the main voices arguing for a less aggressive posture when investigating the DMA, reminding the likes of Admiral Vance and President Rillak that we simply don’t know what the DMA is or what it was intended to be.

Theory #2:
Zora will go rogue.

Zora and Captain Burnham in Stormy Weather.

This week we got to see more of Zora than we ever have before. At one point she did refuse to follow an order, but thanks to interventions from Gray and Captain Burnham, this was resolved. Zora didn’t “go rogue” in Stormy Weather; she was suffering emotionally as a result of the difficult situation she was in. Having only just become aware of her own emotions, she was in a very difficult and traumatic situation. But there may be more to come.

The dangerous nature of artificial intelligence has been a theme Star Trek has returned to time and again since The Original Series episode The Ultimate Computer all the way back in 1968. But recent iterations of Star Trek in particular have used narratives involving evil or out-of-control AIs and synthetic life several times: there were the rogue synths and the super-synths in Star Trek: Picard’s first season, and in Discovery’s second season we had the Control AI.

It’s at least possible that an emotionally-compromised Zora would go rogue, acting against the wishes or even orders of Captain Burnham and the crew. Though Zora professes to care about the crew of Discovery, her instinct for self-preservation in the face of a dangerous situation may kick in.

Theory #3:
The DMA isn’t a super-weapon.

What is the DMA?

In Stormy Weather we learned that the DMA has passed through the galactic barrier – meaning that it quite likely originated from outside of the Milky Way galaxy. That isn’t a given, but it’s a reasonable assumption based on the available evidence.

The fact that the DMA is artificial in nature doesn’t mean it was intended to be a weapon, though, despite its harmful effects in the Milky Way galaxy. It’s possible that extragalactic exploration had been done in a big way by the 32nd Century, but missions that took Starfleet crews outside of the galaxy are incredibly rare within Star Trek. In short, we know precious little about the universe beyond the barrier, meaning that whoever created the DMA is a complete unknown quantity.

Discovery feels like it’s building up to some big reveal about the DMA and Unknown Species 10-C, and one way that could go would be for the crew to learn that the DMA isn’t what they have been assuming. The biggest possibility, given what we learned in Season 3 about the lack of dilithium, could be that the DMA represents an experiment in faster-than-light travel that went awry.

Theory #4:
The DMA is a life-form.

The USS Enterprise inside V’Ger.

The DMA’s extragalactic origin could be an indication that at its core is a sentient life-form, something akin to V’Ger from The Motion Picture. If that were the case it may not be attacking anyone, but simply exploring or trying to make contact. After all, “they were only trying to communicate” has become a Star Trek trope at this point!

Star Trek has shown us many different forms of synthetic life over the years, and while the DMA would certainly be one of the most unusual, it wouldn’t be entirely without precedent. Seeking out new life is at the very core of Starfleet’s mission, and finding a way to communicate with the DMA and figure out what it wants or needs could be a very interesting story – one about understanding and bridging the chasm between different cultures and societies that Star Trek has always done so well.

Theory #5:
Unknown Species 10-C is a faction from a past iteration of Star Trek.

Could Unknown Species 10-C have already appeared in Star Trek?

Despite the fact that the DMA has passed through the galactic barrier, making assumptions is dangerous! We’re barely halfway through the season, after all, so there’s plenty of time for twists and turns. While this revelation has made a handful of suspects significantly more likely than others, in my opinion practically all of the candidates remain in play at this stage.

Based on the DMA potentially having an origin outside of the Milky Way, the three suspects that immediately spring to mind are the Kelvan Empire, the Sphere-Builders, and the super-synths from Season 1 of Star Trek: Picard. They’d all been on my list of suspects going back months, and I really feel that any one of them would make for a potentially interesting story.

I have a longer list of suspects for Unknown Species 10-C, so for a more detailed look at these three candidates – and many others – click or tap here to see the full list.

Theory #6:
A major character will be killed off.

Two “dead” officers.

Lieutenant Tilly’s departure in All Is Possible has certainly shaken up the cast. However, I stand by what I said before the season aired: killing off a character can be a great way to demonstrate the dangerous nature of the circumstances that the crew have found themselves in. So far, despite tangling with the DMA on several occasions, only a couple of redshirts have lost their lives.

In Stormy Weather, Dr Pollard raced through the corridors of the USS Discovery to reach a hull breach. Shortly after she arrived, a redshirt was blown out into space – but Dr Pollard survived. Although moments like this can make it feel that Discovery is shielding its main and secondary characters with some pretty heavy plot armour, I still feel that there’s scope to see a major character death before the season ends.

If you want to check out my pre-season “death predictions,” in which I speculated about which characters may or may not be in danger, you can find that by clicking or tapping here.

So those theories saw some movement this week.

As I said, there really hasn’t been a great deal going on on my theory list in the aftermath of Stormy Weather! But as always, we’ll keep the entire list in one place by re-stating the rest of the theories that I currently have in play.

Theory #7:
The Guardian of Forever will be back.

The Guardian of Forever as it appeared in The Animated Series.

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. Because Captain Burnham and the crew still know so very little about the DMA, it would make sense to at least ask the Guardian for help – maybe it has encountered this phenomenon before.

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 #8:
Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.

Stamets with a holographic galaxy map in The Examples.

Season 4 touched briefly on the Burn with Su’Kal and Saru in Kobayashi Maru, and last season’s big story may not return in any significant way now that the DMA is out there. 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. To see a full write-up of this theory, click or tap here.

Theory #9:
Captain Burnham and the crew will encounter the Klingons.

Kol, a 23rd Century Klingon leader.

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 #10:
The crew will have to defend the Verubin Nebula.

The dilithium planet is vital to the Federation.

The Federation is still in a weakened state, 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.

Another view of the planet in the Verubin Nebula.

Season 4 has presented Captain Burnham and the crew with a scientific puzzle: the DMA. 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 #11:
The ban on time travel will be explained in more detail.

HMS Bounty was able to travel back in time.

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 #12:
The Federation has flouted the ban on time travel.

President Rillak may have tried to circumvent the ban if she felt doing so would be in the Federation’s interest.

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 might have. President Rillak could also be involved.

Obviously the bulk of the season’s story will deal with the DMA. 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 #13:
Michael Burnham won’t remain captain of Discovery.

Burnham in the captain’s chair.

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 All Is Possible.

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 #14:
There will be a character crossover from a past iteration of Star Trek.

Soji could potentially still be alive in the 32nd Century.

This theory returns from Season 3, where I doggedly clung to it for the entire season!

Discovery’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!

There were several great crossovers during The Next Generation era.

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 #15:
Saru will be given the captaincy of the USS Voyager-J.

Captain Saru.

Saru’s future was briefly discussed before he offered to serve as Captain Burnham’s first officer in the episode Anomaly. 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?

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. This could also set the stage for his departure from the show, or possibly even for a new show following his adventures aboard his new ship.

Theory #16:
Book will find Kyheem and Leto inside the DMA.

Book and Kyheem in Season 3.

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 almost eighty years earlier. We don’t know what the DMA 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: what’s going on with the DMA? Is it a super-weapon designed to be destructive? Or does it perhaps contain a wormhole, portal, or gateway to some other place? If it’s the latter, perhaps Kyheem, Leto, and others from Kwejian might still be alive.

Theory #17:
We haven’t seen the last of the Abronians.

I currently have four ideas for different ways that the Abronians – the non-humanoid race that Captain Burnham, Tilly, and the Qowat Milat helped save from cryo-sleep in the episode Choose To Live – could play a further role in Season 4.

Theory #17a:
The Abronians’ homeworld was destroyed by the DMA.

Captain Burnham believes this image depicts a “supernova.”

After arriving at the Abronians’ cryo-ship, Captain Burnham found a stone carving that seemed to depict the destruction of the Abronians’ homeworld. This carving was only shown on screen briefly, but it seemed to show the planet being damaged or destroyed in a large explosion. Burnham credited the planet’s destruction to a “supernova,” and the story then raced ahead.

Considering that the main thrust of the season so far has been about the DMA, perhaps Burnham was incorrect: the Abronian homeworld was destroyed by the anomaly, not a supernova.

Theory #17b:
The Abronians’ homeworld was on the “other side” of the DMA.

Abronian stasis pods.

Stamets and Tarka believe that the DMA contains the technology to generate an artificial wormhole. It’s thus possible that the DMA can facilitate travel between incredibly distant locations – not only for itself, but for other starships too. The subspace tear that the DMA left behind went nowhere – but it may be possible to get “inside” the DMA itself or even use its wormhole tech to travel vast distances.

One thing struck me as odd about the Abronians: the Federation was entirely unaware of them, despite the Abronian cryo-ship being relatively close to Federation space – such that Captain Burnham could reach it using Book’s ship in a short span of time. It’s possible that the Abronians had been asleep for millennia, unnoticed by the Federation and the wider galaxy for all that time. But it’s also at least possible that their cryo-ship is a newcomer to the area. If so, perhaps it arrived here via the DMA.

Theory #17c:
The Abronians will return to help the Federation later in the season.

A deceased Abronian.

One of the themes of Discovery since Season 3 has been connection, including building connections between the Federation and other races and organisations. The Abronians were awoken from cryo-sleep thanks to the interventions of Captain Burnham and Tilly – at least in part – and they may seek to repay the Federation, or Captain Burnham personally, for that help.

We saw this play out last season with Ni’Var; in the season finale Ni’Var ships raced to the Federation’s aid as the Emerald Chain attacked. Perhaps the Abronians will likewise step up to help when the Federation needs allies.

Theory #17d:
The Abronians’ moon-ship may be useful in a later story.

“That’s no moon…”

At this stage I can’t envision precisely what use Captain Burnham and the crew might have for a moon-sized starship… but that doesn’t mean such a need won’t arise! The Abronians’ cryo-ship is huge, and at least superficially seems to have the mass of a moon or small planetoid. If Captain Burnham and the crew needed something that large for some purpose, perhaps they’ll return and either take it or negotiate for it.

As we saw in Choose To Live, the moon-ship was in full working order. All it needed was some extra dilithium to power up and it was perfectly capable of moving under its own power, and its computer systems were still functional. The only system that seemed to have failed was the wake-up timer! So if – for reasons yet unknown – the crew need a huge starship, perhaps we won’t have seen the last of the moon-ship!

Theory #18:
Stamets and Ruon Tarka will create the DMA.

Stamets, Tarka, and Saru with the DMA model.

I included Stamets and Tarka on my list of suspects for the creators of the DMA, but they warrant a full entry on the theory list too! In short, we saw Stamets and Ruon Tarka creating a scale model of the DMA in The Examples, and according to Reno their experiment came very close to destroying the entire ship. They were able to perfectly recreate the device at the centre of the DMA, albeit on a smaller scale – so what’s to prevent them from building a full-scale replica (other than the power generation requirements)?

This theory posits that they will do exactly that – somehow – or that their experiments will set into motion a chain of events that leads to the creation of the DMA in a kind of time-loop storyline. The DMA’s wormhole-generating technology may give it the ability to travel backwards through time as well as across vast distances, so it seems technologically plausible at the very least.

Tarka and Stamets working on their model.

Ruon Tarka was shown as impatient in The Examples, and in his single-minded pursuit of the DMA he may be willing to take risks – perhaps risks which ultimately lead to the creation of the very anomaly he’s been investigating. How such a story would conclude is up in the air, but I don’t think we can rule it out as a possibility right now.

Personally, I find time-loop paradox storylines to be frustrating – and they can be very difficult to pull off successfully. There’s no beginning point to such a story: the DMA exists because the DMA was created because the DMA exists because the DMA was created… it’s an infinite loop. But we’ve seen Discovery tackle time travel stories like this before – and the pieces seem to be in play right now for this story.

Theory #19:
President Rillak knows what the DMA is and may be responsible for its creation.

President Rillak in Kobayashi Maru.

We haven’t seen President Rillak for a couple of weeks now, though she has been briefly mentioned. But when I think about the possible suspects for creating the DMA, the Federation – and by extension, President Rillak – are unquestionably on that list.

President Rillak is a cunning, almost Machiavellian politician, willing to do anything to advance what she considers to be the best interests of the Federation. I believe Captain Burnham needs to be very careful with President Rillak. During the events of All Is Possible, working with Captain Burnham was advantageous to the Federation’s president – but I have no doubt that she’d throw Burnham and the USS Discovery under the bus without so much as blinking if she believed it would be to her advantage. Which brings us to the DMA.

President Rillak might know more about the DMA than she’s currently letting on. If the Federation had created a weapon like this, or if it was an experiment gone wrong, covering it up might be her objective even if she wasn’t necessarily the one who ordered the DMA’s creation. Also, with the goal of reuniting the Federation foremost in her mind, President Rillak may prove to be the sort of uncompromising politician who’d willingly unleash destruction upon the galaxy if she believed that doing so would serve a greater purpose.

Theory #20:
Dr Kovich is an agent (or the head) of Section 31.

Dr Kovich in The Examples.

I freely admit that this theory is barely clinging on right now, but I don’t believe it’s been completely disproven just yet! The questions of who Dr Kovich is and what exactly his role is within Starfleet and/or the Federation have no clear answer right now. He’s clearly someone with power and influence, as we’ve seen him working with Admiral Vance and seemingly being able to appoint anyone he chooses to be an instructor at Starfleet Academy. Yet he also seems to have some medical training, serving as a psychologist or counsellor – and it’s in this capacity that we saw him most recently.

Because of the unclear nature of his role and the mysterious, stoic presentation from David Cronenberg, Dr Kovich is still an enigma. He’s also the kind of man who could potentially be an agent of Section 31. If it turns out that the Federation, President Rillak, and/or Section 31 are involved with the DMA, perhaps we’ll learn that Dr Kovich is as well. Or perhaps such a storyline will finally put this theory to bed once and for all!

Theory #21:
Captain Burnham and/or the Red Angel suits from Season 2 are connected to the DMA.

A Red Angel suit from Season 2.

Now that we know the DMA is artificial in nature, the question shifts to who built it and why. We’ve covered the idea of it being a weapon or an out-of-control experiment, as well as being a life-form in its own right. It could also be the responsibility of Section 31 or the Federation. But because this is Star Trek: Discovery, a show which likes to put Captain Burnham at the centre of its stories, perhaps there’s a connection to her that we’re missing.

The Red Angel time travel suits from Season 2 were phenomenally powerful machines, capable of generating time-wormholes large enough to transport an entire starship 930 years into the future. We already know that the DMA potentially contains a synthetic wormhole, so it wouldn’t be a huge leap to connect the two. We also don’t know for certain what became of Captain Burnham’s Red Angel suit after the Season 3 premiere. There’s also the faint possibility of a parallel universe Burnham or time travelling Burnham being responsible.

Theory #22:
The story will connect with the Short Treks episode Calypso.

The USS Discovery as seen in Calypso.

Stormy Weather picked up the storyline from The Examples regarding Zora’s emotions, and I would argue that the way Zora was depicted is now much closer to the way she was in Calypso. In that Short Treks episode, Zora was definitely someone who could feel emotions, so the confirmation of that now means that Calypso is, in some ways, one step nearer.

There are still significant hurdles to overcome if the story of Calypso is to be wrapped up in Season 4, though. Obviously we have the timeframe issue: will the USS Discovery be sent back in time, be abandoned, or is Calypso taking place centuries in the future? Then we have the USS Discovery itself – it’s been retrofitted since arriving in the 32nd Century, and now looks very different to how it did in Calypso. Despite Zora getting some development in The Examples and Stormy Weather, I can’t yet see a pathway to making Discovery and Calypso line up – but that doesn’t mean it won’t happen!

So that’s the main theory list.

We also have two production-side theories in play, and I’ll recap those now.

Production-side theory #1:
Tilly’s departure will be permanent.

Tilly’s departure feels permanent.

Mary Wiseman confirmed in an interview with Wil Wheaton on The Ready Room (Discovery’s social media aftershow) that Tilly will be seen again before the end of Season 4. But that doesn’t mean she will be a main character on the show going forward, and her departure feels permanent. Despite that, I’ve seen quite a lot of folks online who don’t believe that Tilly is actually leaving the series – so I wanted to put it out there officially and say that, in my opinion anyway, she is.

Maybe those people know something that I don’t! As I always say, I don’t have any “insider information;” all of this is just speculation on my part. However, I feel that the manner of Tilly’s departure, the fact that she got that emotional sequence with Captain Burnham, a montage showing her leaving the ship, Adira seeming to take over several of her roles, and her departure feeling like the culmination of her arc going back to the latter part of Season 3 all come together to strongly indicate that she won’t be back as a major character. She may yet have a significant role to play in a future Season 4 episode, as has been suggested, but unless Discovery’s writers are really playing with our emotions I believe we’ve seen Tilly’s end as a main character on the show. She may come back in a future Starfleet Academy series, though… so watch this space!

Production-side theory #2:
Star Trek: Discovery isn’t going to be renewed for Season 5.

Is a fifth season going to happen?

Since Discovery debuted in 2017, we’ve known well before this point in the season that the show has been renewed. This obviously isn’t one of those “I hate new Star Trek” things that we’ve seen doing the rounds online for years; I adore Discovery and genuinely want to see it continue. But it’s profoundly odd to be nearing the halfway point of Season 4 and to still have had no announcement about Season 5. For comparison, Star Trek: Picard has been renewed for Season 3 even though Season 2 won’t air until next year!

I’m hopeful that this is just a blip; a temporary delay for reasons unknown, and that the show has been renewed for Season 5 already behind-the-scenes. However, when we look back at Star Trek productions in recent years, it was often apparent that production work was quietly ongoing even if there hadn’t been any official word from ViacomCBS. As far as we know at this stage, there’s been no pre-production work on Season 5, let alone any filming taking place in the Toronto area. The abrupt announcement that the show is taking a mid-season break could also be indicative of issues behind-the-scenes.

Once again this is a “watch this space” kind of theory. I hope I’m wrong… but the lack of any news or even any significant rumours about the show’s future is beginning to have me worried.

So that’s it.

The USS Discovery inside the void.

We have quite a few theories still in play as we approach the mid-season break. I confess that I have some expectations that this week’s episode – titled But To Connect – will move the needle on at least some of them! A mid-season finale should be a spectacle, ending on a cliffhanger or some explosive revelation to keep us as the audience on the edge of our seats. So perhaps this time next week we’ll be debunking and adding a few more theories than we did on this occasion!

Before we go, one final point. I write up these theories because I like Star Trek and I like writing. But for some folks, fan theories can hamper their enjoyment of a film or television show. It’s worth keeping in mind that most of these theories probably won’t pan out, and we have to be prepared for the fact that even the most well-constructed fan theory, no matter how fun and plausible it seems, simply won’t turn out to be true. If you find that speculating and reading theories is beginning to detract from your enjoyment of Star Trek: Discovery – or any other television show or film – it might be a good idea to take a break for a while.

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.

The Matrix Resurrections – film review

Spoiler Warning: There are spoilers ahead for all four films in The Matrix series.

It had been a while since I watched The Matrix and its sequels. The 1999 original has become somewhat of a sci-fi classic, with several themes and rhetorical devices entering popular culture and our shared lexicon – albeit not always in the ways the filmmakers intended! Phrases like “a glitch in the Matrix” to refer to déjà vu (or anything else that looks or feels odd), and of course the famous blue and red pills as metaphors for comfortable ignorance versus unpleasant truths have taken on lives of their own far beyond The Matrix and its sequels.

Coming almost two decades after The Matrix Reloaded and The Matrix Revolutions, there were questions facing The Matrix Resurrections. Could it live up to its predecessors? Could it recapture the magic of “bullet time” and the blend of metaphor and philosophical themes with sci-fi action? With the story seemingly concluded and several main characters dead, what else was there to explore in this fictional universe? From my point of view as someone who identifies with The Matrix’s core concept of living a false life, I was very interested to see what the film would have to say about trans and non-binary issues as well.

Are you ready to re-enter the Matrix?

From the points of view of visual effects and cinematography, The Matrix Resurrections delivered pretty much everything I could have wanted or expected – but it didn’t really go beyond that. The original film was groundbreaking in 1999 with its incredibly dense yet beautifully-choreographed action sequences and, of course, the pioneering use of the aforementioned “bullet time.” Resurrections brought those same elements back to the table, and I thoroughly enjoyed them all over again. It didn’t feel pioneering or new any more, and perhaps in that sense some of the magic of the original film was missing. But asking every film to do something completely brand-new – especially the fourth film in a series – is probably too much.

Many films – probably most – don’t pioneer brand-new ways of filmmaking or never-before-seen visual styles, and we still enjoy them! So I don’t want to be too harsh on The Matrix Resurrections: it does its action sequences, its “bullet time,” and the rest of its visuals and special effects exceptionally well, far better than many titles released over the past two decades. Lana Wachowski has lost none of her edge as a filmmaker and director, and the way she frames some of the densely-packed action set-pieces, combined with the series’ use of its signature “bullet time” works just as well in Resurrections as it ever did.

Visual effects were great in The Matrix Resurrections.

I don’t know what the reasons are behind the re-casting of characters Agent Smith and Morpheus, so I don’t want to speak out of turn or criticise individual actors, the director, or anyone else involved in the casting. Looking at the way these characters are used in Resurrections itself, though, I can’t shake the feeling that bringing back the original actors would have had far more of an impact. One big part of what makes Resurrections work so well is the on-screen chemistry between Keanu Reeves’ Neo and Carrie-Ann Moss’ Trinity. Morpheus and Agent Smith were big parts of that story too, and the recasting is, at the very least, noticeable. At worst, it feels out-of-place and even detracts, at points, from our big return to this fictional universe.

This isn’t a criticism of either Yahya Abdul-Mateen II, who has taken over the role of Morpheus, nor of Jonathan Groff, who took over as Agent Smith. Both characters are different iterations of the characters we met in the original films, and both actors do a wonderful job. It just feels that, in a story that’s partly about the past, breaking away from the past, and how past events in one’s life can cast a shadow, recasting these two key characters took away something valuable.

The re-casting of key characters was noticeable.

Setting aside the story for a moment, let’s talk about The Matrix Resurrections in terms of theme, metaphor, and the film’s philosophy. It was only on re-watching the original films having heard other people talking about its transgender allegory that I really came to understand how well it works. The conclusion of The Matrix Revolutions saw Neo (as The One) bring the Matrix itself to a screeching halt, shattering the false world and liberating himself and those around him. To continue the transgender metaphor, this can be argued to represent a closeted trans person breaking out of either their self-imposed or societally-imposed shell, liberating their true self and being able to live openly as the person they are – and always needed to be.

Resurrections, if it were to continue that allegory, had to find a way around what is a fairly typical issue that many sequels face. I’ve called this the “Disney problem” on more than one occasion, as many Disney films struggle to find a way to make a successful sequel, and it’s summarised thus: what comes after “happily ever after,” and how do you tell that story without tearing down the successes and emotional high points of the original work? The Matrix Revolutions didn’t really leave an opening for a sequel, at least not one featuring Neo and Trinity, so Resurrections had to find a way around this. Both narratively and thematically, the film absolutely nailed it.

Figuring out why Neo was back in the Matrix, and how he’d survived, were hurdles that Resurrections easily overcame.

Yes, there’s sci-fi fun going on. The Machines quite literally resurrected Neo and Trinity, putting them back in their shells and using them to power an new and improved version of the Matrix, one which was better and more efficient at keeping people trapped. But beyond that, there’s also the continuation of this important and inspirational trans journey.

And some people, judging by some incredibly offensive and provocative comments online, have reacted very poorly to that. The usual arguments about “wokeness” have emerged – seemingly directed at the fact that the film has a trans director, even though the film itself contains practically no overt mentions or depictions of any LGBT+ characters. What’s present is there at a thematic level, partly because companies like Warner Bros. want to make stripped-down films that they can sell in markets where homophobia and transphobia are rife. In fact, that was one of the things that I was surprised and perhaps a tad disappointed about with The Matrix Resurrections: although it’s a film with a transgender director and two gay main cast members, there was practically no open mention of LGBT+ issues nor any significant depictions of LGBT+ characters. Despite that, some so-called “critics” seem to only have this to say about The Matrix Resurrections when attacking it online:

(Yes, that’s an actual line from Family Guy…)

The Matrix Resurrections is, if you look at it on the surface, somewhat regressive. It takes Neo back to his closeted status, undoing three films’ worth of progress and a “coming out” analogy that many trans people found to be powerful. But as a standalone piece, the depiction of Neo’s life inside the Matrix at the beginning of Resurrections is so much more powerful and meaningful than it was in any of the original films – or indeed in all three combined.

I can barely find words to express how much the depiction of Neo at the beginning of the film resonated with me. Both from the point of view of mental health and as someone who has only recently began to make cracks in my own “shell”, the way Neo was written and the way he comes across is so much more impactful in Resurrections. His struggles, his dependence on medication, his therapy sessions and questioning who he is and where he fits in this world are all incredibly powerful moments. At several points I had to pause Resurrections to catch my breath or wipe away tears. Seeing Neo in this way felt real – it felt like seeing a reflection of myself through Keanu Reeves’ incredible performance and Lana Wachowski’s beautiful writing and directing.

The blue pills are a returning rhetorical device.

The Matrix in 1999 either didn’t intend to depict this aspect of living a lie in such detail, or else brushed it under the carpet to get to the action. But Resurrections builds up to the action slowly, deliberately spending more time with a trapped Neo, someone who realises something is wrong but who seems desperate to push those feelings down – taking inordinate amounts of blue pills as medication to help with that. One of the early sequences with Neo and his therapist – played in a wonderfully nuanced performance by Neil Patrick Harris – truly embodied the struggle that many gender-nonconforming people go through. Seeing such a powerful depiction of something that I can relate to – because I’ve felt that way too – has been an incredible experience.

I didn’t come to The Matrix Resurrections for mindless action. In one of its more meta, self-aware sequences, the film itself pointed out that mind-numbing action isn’t “on brand” for the series. I’d argue that any adult who’s shown up for Resurrections expecting nothing but sci-fi and action has kind of missed the point: The Matrix as a series has always had a strong philosophical bent to it, one that can be interpreted in as many different ways as there are viewers. For transgender and non-binary people, these aspects of the story come to the fore. For other viewers, though, the film’s messages can be read through a lens of mental health, of escaping an unsatisfying or boring life, of finding a second life through online interaction, anti-capitalism, and many more besides.

I found the film’s depiction of Neo to be very relatable.

An unexpected inclusion in Resurrections was the coming together of liberated humans and machines – now known as synthients. The idea that the conflict between humans and machines wasn’t totally black-and-white, and that some machines could become friends and allies to humans was an interesting one – but one that Resurrections perhaps didn’t take as far as it could’ve. There’s a great kernel of an idea, but in a film that had a lot of other narratives to cram into its two-and-a-half-hour runtime, this rebel machine angle didn’t go as deep as some of the others. The reasons why some machines rebelled, and why those rebels sought out humans as allies, were never fully addressed. Perhaps that’s something a future sequel could pick up, as I feel there’s potential in a storyline about overcoming conflict and learning to let go of hate.

Speaking of sequels and The Matrix as a franchise, the film had some incredibly meta moments of self-reflection. Some of these were played almost for laughs, but others had a distinctly unsettling feel, as if the film was getting inside my head and blurring the lines between reality and fiction – itself a theme present in the film’s opening act. I wasn’t expecting this meta commentary on the nature of sequels, franchises, and the state of the entertainment landscape in 2021 – nor was I expecting a self-referential comment about Warner Bros., the company behind the film. Maybe this is a comparison that no one else will get, but I felt it was the second time this year that I’ve seen this kind of self-referential meta commentary from a Warner Bros. picture; the company did something similar in, of all titles, Space Jam: A New Legacy.

There was a lot of meta commentary about filmmaking and sequels.

One really interesting visual metaphor that the film made use of was the mirror. Mirrors cropped up many times, serving as portals within the Matrix. Again, speaking as someone who is non-binary, I haven’t always liked the reflection in the mirror. The clever use of visual effects to show Neo in particular looking in the mirror and not recognising himself, or seeing flashes of someone else that he didn’t recognise, is something that spoke to me in a way I was not expecting.

When I’ve looked in the mirror, the person looking back hasn’t been the person I want to be; it isn’t a reflection of my true self, the version of me that I want to be. Many people can relate to that in various ways, I have no doubt about that; we all have features or imperfections we’d like to change if we could. Just like with many other themes present in Resurrections and the entire Matrix series, this can be read differently by different viewers. Trans and non-binary viewers, I would suggest from my own experience, will relate very strongly to the way mirrors are used, though. A mirror is supposed to be a totally accurate reflection of oneself – but speaking from experience, a mirror can also be something to be avoided; a harsh reflection of someone we don’t identify with or wish was fundamentally different.

Mirrors became an important visual metaphor throughout the film’s opening act.

Let’s conclude by talking about the film’s actual narrative and story. The reason for Neo and Trinity being back in the Matrix – and the Matrix itself being bigger and more powerful – was kind of technobabbley, but I didn’t hate it. It was a gateway to something significant, and without it the film itself wouldn’t have been possible. I think as a narrative point it does work, but the film was definitely better for not spending too much time trying to over-explain how Neo and Trinity came to be trapped again and what the Analyst’s plans were.

The new character of Bugs was fun; a clever riff on a character concept from previous entries in the series who felt distinct, yet familiar. There was a bit of forced drama in the conflict between Bugs and Niobe – the latter now in command of the new human-synthient settlement of Io. That particular story beat didn’t really go anywhere; Niobe was concerned about the safety of the settlement, yet it never really felt as though it were under threat nor in any danger, despite the plan Bugs, Neo, and Morpheus came up with to rescue Trinity.

I didn’t feel this conflict was the film’s strongest narrative choice.

I liked seeing Agent Smith as a character outside of his usual role. He was definitely still an antagonist, but the addition of the Analyst as the program in control of the Matrix had untethered Smith. His desire to remain free from outside control was understandable at first – but was subsequently traded away for a redux of the Neo-versus-Smith battles from earlier films. It was still neat to see an unexpected team-up, however brief, between Neo and Smith – though I come back to what I said earlier: this would’ve worked a lot better if the original actor had been able to reprise the role.

The Analyst was a wonderfully nuanced character, and Neil Patrick Harris put in a great performance. The Analyst had taken over the Matrix, rebuilding it around Neo and Trinity and using their emotional connection to manipulate people and thus make the Matrix even more efficient. This gave the story the necessary explanation to function, and served as a decent motivation for the Analyst’s character.

The Analyst made for a great antagonist.

The synthient Sati – played by Priyanka Chopra Jonas – gave us a lot more information about the synthients, and was the best and most interesting machine portrayal in the film. She also had a connection to the original films, having briefly met Neo years earlier. Her motivation to rebel and to seek to see the Matrix shut down was easily understood: having seen her parents killed, she essentially wanted revenge.

None of these characters – or the other secondary characters – felt flat or uninteresting; I was genuinely curious to learn more about them and the places they occupied in this dystopian world. Each felt distinct, each had a purpose, and they were all written sympathetically. The story was complicated in places, and I think casual viewers or those not up to speed on the events of the original films will struggle in places to follow some of the denser moments which rely on lore and backstory to make sense. But The Matrix Resurrections is a sequel – part four in a series. Even though it’s coming almost two decades later, you can’t expect it to spend all of its runtime re-explaining events from the past!

The film relies on earlier entries in the series to make sense of its storylines.

Resurrections included a fair amount of footage from the original Matrix films, some of which were very brief clips that were only on screen for a second or two. This abrupt editing was a risky choice – it could have felt cheap or even lazy; a direct appeal to fans of the original films. However, I don’t believe this is how it comes across. It continues that feeling of being unsettled, of feeling that there’s another life that one could or should be living. In Neo and Trinity’s cases, these came in the form of memory and flashback – which is where the very literal use of clips from the original films come in. In the case of trans and non-binary people, to continue that theme, these clips could represent the true self that exists outside of the shell, bubble, or closet in which one is trapped.

I found The Matrix Resurrections to be a deeply emotional experience – and a film I’m incredibly grateful to have been able to see.

Fans of the original films will find something to like – if they’re prepared to give Resurrections a fair shake on its own merits and not get bogged down in arguments about “wokeness” and the like. Though there were things I felt missed the mark, overall I have to say that Resurrections is one of the most complex, raw, and brutally honest films I’ve seen all year. It retains all of the signature elements from the original films, and for people who aren’t interested in a metaphorical or philosophical reading it’s possible to enjoy Resurrections as a work of action-sci-fi. For me, though, the powerful themes resonated with me, and made The Matrix Resurrections a film that was both an entertaining watch and, at times, a deeply emotional and cathartic experience.


The Matrix Resurrections is out now in cinemas and is available to stream on HBO Max. The Matrix Resurrections is the copyright of Village Roadshow Pictures and/or Warner Bros. Pictures. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

A handful of older films, games, and TV shows that I enjoyed in 2021

Spoiler Warning: Minor spoilers may be present for some of the entries on this list.

At this time of year, practically every outlet – from dying newspapers to new social media channels – churns out list upon list of the best entertainment products of the year. The top threes, top fives, top tens and more of 2021 abound! I have something similar in the pipeline, but today I wanted to take a look back at a handful of films, games, and TV shows from previous years that I found myself enjoying in 2021.

I have long and seemingly ever-growing lists of films, games, and TV shows that I keep meaning to get around to! I still haven’t seen Breaking Bad, for example, nor played The Witcher 3, despite the critical and commercial acclaim they’ve enjoyed! I also have a huge number of entertainment properties that I keep meaning to re-visit, some of which I haven’t seen since we wrote years beginning with “1.” In 2021 I got around to checking out a few titles from both of these categories, and since there are some that I haven’t discussed I thought the festive season would be a great opportunity for a bit of positivity and to share some of my personal favourite entertainment experiences of 2021… even though they weren’t brand-new!

Film #1:
The Lord of the Rings trilogy (2001-03)

We’ve recently marked the 20th anniversary of The Fellowship of the Ring, the first part of Peter Jackson’s epic adaptation of J. R. R. Tolkien’s magnum opus. The passage of time has done nothing to detract from these amazing films, and this year a 4K Blu-Ray release has them looking better than ever before.

The early 2000s had some serious pitfalls for film and television. CGI was becoming more mainstream and many filmmakers sought to take advantage of it, but just look to the Star Wars prequels and how outdated the CGI in those titles is; it hasn’t held up well at all. The majority of the special effects in The Lord of the Rings were practical, and combined with clever cinematography even incredibly dense and complex battle sequences still look fantastic two decades on.

Though I don’t re-watch The Lord of the Rings every single year without fail, I’m happy to return to the trilogy time and again – and I almost certainly will be for the rest of my days! The Hobbit and Tolkien’s Middle-earth was one of the first fantasy worlds I encountered as a young child; I can vaguely remember the book being read to me when I was very small. The conventional wisdom for years was that The Lord of the Rings was unfilmable – but Peter Jackson proved that wrong in some style!

Film #2:
Despicable Me (2010)

I spotted this while browsing Netflix one evening, and despite having seen at least one film with the Minions, I hadn’t actually seen the title that started it all. I have to confess that I didn’t have particularly high expectations, thinking I was in for a bog-standard animated comedy. But Despicable Me has heart, and there were some genuinely emotional moments hidden inside.

The Minions got most of the attention in the aftermath of Despicable Me, and can now be found on everything from memes to greetings cards! The critters are cute, but they’re also somewhat limited – and I think it’s for that reason that I didn’t really expect too much from Despicable Me except for maybe a few laughs and a way to kill an empty evening. I was pleasantly surprised to find a much more substantial film than I’d been expecting.

There were still plenty of laughs and a ton of cartoon silliness to enjoy and to keep the tone light-hearted. But there was a surprisingly emotional story between the villainous Gru and the three children he adopts – especially Margo, the eldest. I can finally understand why the film has spawned four sequels, fifteen shorts, and a whole range of merchandise!

Film #3:
Star Trek V: The Final Frontier (1989)

The Final Frontier has a number of issues that I’m sure most of you will be aware of. It arguably suffered from a little too much involvement from William Shatner, who sought to put Captain Kirk at the centre of the story at the expense of others. But The Final Frontier has some truly great character moments, including one of the final times that Kirk, Spock, and Dr McCoy would be together before The Undiscovered Country brought an end to Star Trek’s original era.

The film has some truly funny moments, too: the scene where Uhura catches Chekov and Sulu pretending to be caught in a storm being one, and Scotty’s moment of slapstick being another that never fails to win a chuckle. The Undiscovered Country was a great send-off for Star Trek’s original crew, but it was quite a heavy film with a lot of tense moments and high-octane action. The Final Frontier brings more light-hearted moments to the table, and that’s something I can appreciate when I’m in the right mood.

There are some exciting sequences too, though. The shuttle crash is a very tense and dramatic moment, and the final confrontation with the entity at the centre of the galaxy, while silly in some respects, does succeed at hitting at least some of those same dramatic highs. Though I wouldn’t suggest that The Final Frontier is anywhere near the best that Star Trek has to offer, it’s well worth a watch from time to time.

Game #1:
Control (2019)

Though hardly an “old” game, I missed Control when it was released in 2019. It had been on my list for a couple of years, and I was pleased to finally get around to playing it this year. The game had a far creepier atmosphere than I’d been expecting, with protagonist Jesse having to battle an unseen enemy called the Hiss.

One thing I really admire about Control is the way it made incredibly creative use of some fairly plain environments. The entire game takes place in what’s essentially a glorified office building, and rows of cubicles or the janitor’s workspace could, in other games, come across as feeling bland and uninspired. But Control leans into this, using the environments as a strength, juxtaposing them with incredibly weird goings-on at the Bureau of Control.

I also liked that, for the first time in years, we got full-motion video sequences in a game! FMV was a fad in gaming in the early/mid-1990s I guess, primarily on PC, and titles like Command and Conquer and Star Trek: Starfleet Academy made use of it. It had been years since I played a game with FMV elements, and it worked exceptionally well in Control – as well as being a completely unexpected blast of nostalgia!

Game #2:
Super Mario 64 (1996)

Despite the serious limitations of Super Mario 3D All-Stars on the Nintendo Switch, which I picked up last year, I can’t deny that it’s been fun to return to Super Mario 64. One of the first fully 3D games I ever played, Super Mario 64 felt like the future in the late ’90s, and even some titles released this year, such as Kena: Bridge of Spirits, owe parts of their 3D platforming to the pioneering work that Nintendo did with this game.

Super Mario 64 is and always has been good, solid fun. There doesn’t need to be an in-depth, complex story driving Mario forward to collect stars, because the game’s levels and bosses are all so incredibly cleverly-designed. Jumping in and out of different painting worlds is relatively quick and feels great, and the sheer diversity of environments is still noteworthy in 2021. Mario goes on a journey that takes him through snowy mountains, a sunken shipwreck, sunlit plains, cities, clouds, and more.

I can’t in good conscience recommend Super Mario 3D All-Stars. The way these games have been adapted for Nintendo Switch isn’t worth the asking price. But even so, going back to Super Mario 64 has been one of my favourite parts of 2021, a chance to reconnect with a game I played and loved on the Nintendo 64. If you’ve never played it, track down a copy and give it a go. You won’t regret it.

Game #3:
Red Dead Redemption II (2018)

I’d been meaning to get around to Red Dead Redemption II for three years – but I’d always found a reason not to pick it up (usually it was too expensive!) It took forever to download on my painfully slow internet connection, but it was well worth the wait. I’ve had a fascination with America in the 19th Century for as long as I can remember – I guess partly inspired by playground games of “the wild west” that were fairly common when I was young. I even had a cowboy hat, toy gun, and “Davy Crockett” hat when I was a kid!

Red Dead Redemption II transported me to that world in a way that I genuinely did not think was possible. Films and TV shows can do a great job at pulling you in and getting you lost in a fictional world, but the interactive element of video games can add to that immersion – something that was absolutely the case with Red Dead Redemption II. The amount of detail in the game’s characters and open-world environments is staggering, and having finally experienced it for myself I can absolutely understand why people hail this game as a “masterpiece.”

I wasn’t prepared for the many emotional gut-punches that Red Dead Redemption II had in store. In many ways the game tells a bleak and even depressing story, one with betrayal, death, and many examples of the absolute worst of humanity. But every once in a while there are some incredibly beautiful moments too, where characters sit together, sing, play, and revel in their bonds of friendship. Red Dead Redemption II gave me the wild west outlaw fantasy that my younger self could have only dreamed of!

TV series #1:
Star Trek: The Original Series (1966-69)

I’ve re-watched quite a lot of The Original Series this year, probably more episodes than I’d seen in the past few years. Because of its episodic nature, it’s easy to dip in and out of The Original Series, firing up an episode or two to spend an hour with Captain Kirk and the crew without feeling the need to commit to an entire season of television.

The Original Series started it all for Trekkies, and I’m always so pleased to see that modern Star Trek hasn’t lost sight of that. In this year’s episodes of Lower Decks and Discovery we’ve gotten many references and callbacks to Star Trek’s first series, keeping the show alive and relevant as we celebrated its fifty-fifth anniversary – and the centenary of its creator, Gene Roddenberry.

Though dated in some ways, many of the themes and metaphors present in The Original Series are still relevant today. Society has changed since the 1960s, but in some areas we’re still fighting the same or similar fights for acceptance, for equality, and so on. The Star Trek franchise has always had a lot to say about that, being in some ways a mirror of society and in others depicting a vision of a more enlightened, optimistic future.

TV series #2:
Fortitude (2015-18)

I went back to re-watch Fortitude this year, for the first time since its original run. The series starts very slowly, seeming at first to be little more than a murder-mystery in a different setting. But it builds up over the course of its first season into something truly unexpected, crossing over into moments of political thriller, action, and even horror.

There are some truly shocking and gruesome moments in Fortitude, and it can be a harrowing watch in places. But it’s riveting at the same time, and I managed to get hooked all over again by the complex characters, the mysteries and conspiracies, and the bleak but beautiful arctic environment.

Fortitude featured some star names among its cast, including Michael Gambon, Stanley Tucci, and Dennis Quaid – the second-most-famous Dennis to be featured on this website! Although it was fun to watch it weekly during its original run, Fortitude is definitely a show that can be enjoyed on a binge!

TV series #3:
Family Guy (1999-Present)

Family Guy’s sense of humour sometimes runs aground for me, dragging out jokes too long or failing to pay off neat setups with decent punchlines. But with the full series (up to midway through Season 20 at time of writing) available on Disney+, I’ve found myself putting it on in the background a lot this year. The short runtime of episodes, the lightheartedness, and the way many of the jokes are often disconnected from whatever nonsense plot the episodes have going on all come together to make it something I can dip in and out of while doing other things.

There are some insensitive jokes, and some entire storylines in earlier episodes have aged rather poorly. But Family Guy seldom strikes me as a show punching down; it satirises and pokes fun at many different groups. In that sense it’s kind of halfway between The Simpsons and South Park; the former being more sanitised and family-friendly, the latter being edgier and meaner.

I rarely sit down and think “gosh, I must watch the latest Family Guy episode.” But if I’m in need of background noise or something to fill up twenty minutes, I find I’ll happily log into Disney+ and put on an episode or two.

So that’s it.

There have been some great films, games, and television shows that were released in 2021. But there were also plenty of entertainment experiences from years past that, in different ways, brightened my year. As we gear up for New Year and for everyone’s end-of-year top-ten lists, I wanted to take a moment to acknowledge that.

I hope you had a Merry Christmas, a Happy Holiday, or just a relaxing day yesterday! I did consider writing something to mark the day, but I found that I had remarkably little to say that was different from the piece I wrote last year. 2021 has been “2020 II” in so many respects, unfortunately. However, unlike last Christmas I will be able to visit with some family members – I’ll be seeing my sister and brother-in-law later this week, which will be a nice treat! So here’s to 2021’s entertainment experiences – and as we enter the new year, it’s worth keeping in mind that we don’t only have to watch and play the latest and newest ones!

All titles on the list above are the copyright of their respective broadcaster, distributor, developer, network, publisher, studio, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery review – Season 4, Episode 6: Stormy Weather

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4.

Last week we learned that the DMA – the anomaly at the heart of Season 4’s story – is an artificial construct. Following up that big revelation was the challenge that befell Stormy Weather and director Jonathan Frakes, and I’m happy to report that Discovery rose to the occasion. Stormy Weather was a tense, dramatic, and incredibly exciting episode, one that has set a high bar for the rest of the season to reach.

Unfortunately, due to inexcusable corporate nonsense from ViacomCBS, Star Trek: Discovery is unavailable to many fans around the world. This short-sighted, self-defeating decision has been rightly condemned by Star Trek fans, but we need to keep the pressure on and continue to call out this misbehaviour at every opportunity. Star Trek is not the sole preserve of any one group of fans – it’s something all of us should be able to enjoy together. Denying that opportunity to even one Trekkie would be unacceptable; to deny it to millions in dozens of countries and territories around the world is just offensive.

Captain Burnham with her family tree.

So let’s take a look at Stormy Weather – an episode named for a song from 1933. There have been some connections between Discovery and sister show Star Trek: Picard, but one of the most unexpected thematic connections came in the form of this song. Picard Season 1 prominently featured the song Blue Skies, written in 1926, and to hear another older, slow-tempo jazz song in Discovery was an unexpected but interesting way to bridge the gap between these two very different parts of the Star Trek franchise.

Stormy Weather featured Captain Burnham prominently, and we’ll look at her contributions in a moment. But where the episode did remarkably well, in my view, was through a series of smaller moments that showed off several members of Discovery’s secondary cast – many of whom have had less to do so far this season than in Season 3 last year.

Several members of the secondary cast (Nilsson pictured) got things to do this week.

Commander Owosekun had a big centre-stage moment, objecting on the bridge in front of her colleagues and leading to a sweet moment later on between her, Detmer, and Saru. Dr Pollard, making her first major appearance of the season, got two significant moments in the spotlight, including one incredibly dramatic moment as a crewman was blown out into space through a hull breach.

Ian Alexander, who plays Gray, and Annabelle Wallis, who voices Zora, were Stormy Weather’s breakout stars for me. Gray had already given us one of the season’s emotional highs when he completed his transfer into a new synthetic body, but there was definitely a question mark surrounding his next steps. Adira was a commissioned ensign, but Gray didn’t really have a role aboard the ship – something that Discovery acknowledged this week when Gray found himself alone in the lounge as the crew scrambled to their posts.

Gray and Zora played Trill chess together.

There’s always something very relatable about this kind of storyline. Anyone who’s ever dealt with feelings of helplessness or loneliness should be able to empathise with Gray in this moment, and it’s certainly something I’ve been through before on more occasions than I perhaps care to admit! As everyone on the ship attended to their duties, Gray was left alone – and this led to a really touching sequence between he and Zora that ended up playing a major role in the story.

Zora was a background presence for much of Season 3, and it was only really last week when the revelation that she can feel emotions came out that she emerged as a major player. Zora’s interactions with Gray this week have done more to humanise her and lay the groundwork for future character development than any episode has since Calypso – and if Discovery chooses to, the show could now make Zora a major presence on the ship going forward.

Gray and Zora played significant roles this week.

I can’t be the only one noticing an homage to 2001: A Space Odyssey, right? Zora’s line to Captain Burnham when she refused to follow an order felt like it had come straight from HAL 9000! Of course, Zora went in a different – and thankfully far friendlier – direction shortly thereafter, but the reference was appreciated nevertheless.

The development of Zora’s emotions brings the character one step closer to her portrayal in the Short Treks episode Calypso, but at this point I’m still not sure how – or even if – the stories will line up. As we’ve discussed previously, for every step made toward Calypso since Season 2 we’ve seen at least one step away – and with Discovery in the far future already, the further development of Zora still leaves the show with significant hurdles to overcome if a full connection to Calypso is on the cards. But I guess that’s a conversation for another time!

“I’m sorry, Dave. I’m afraid I can’t do that.”

Gray and Zora were able to share a connection as two passengers on the ship who felt out of place and unsettled. There was a subtle continuation of the transgender theme present in Gray’s earlier incorporation story, as Gray made reference to choosing his own name; something Zora could relate to. Despite Gray’s incorporation feeling somewhat rushed at the beginning of the season, it’s been great to see him as a character in his own right, able to interact with others aboard the ship. Pairing him up with Zora was unexpected but an absolute delight.

Discovery has continued Star Trek’s use of storytelling by metaphor and analogy, and we see that again with Gray. His struggle to become visible, his comments about getting used to his new body, and again this week through his conversations with Zora all had serious things to say about the difficulty of transitioning, coming out as transgender, finding acceptance, and other trans issues. But they were told through a science fiction lens in the very best tradition of Star Trek. It’s hard to think of a more understandable and relatable depiction of a trans individual in all of entertainment, and the writers deserve a lot of credit – as does Ian Alexander, who stepped up this week and put in his best performance of the season so far.

Stormy Weather was a great episode for Ian Alexander and Gray.

Discovery as a whole is a series with a cinematic feel to it. That isn’t something unique among television shows any more, as we can see many other high-budget productions pushing hard for similar visuals and effects. But Stormy Weather definitely veered hard into the cinematic, with all manner of special effects thrown into the episode’s forty-five minutes. We had silent slow-motion sequences, stunning CGI visual effects – including a striking shot of the USS Discovery itself inside the void, tightly-focused shots of characters in motion, close-ups of faces, and a whole lot of fire and flame to name but a few. Such a varied mix of visuals, coupled with Jonathan Frakes’ clever cinematography, gave Stormy Weather a sense of weight, of gravitas, far beyond what the franchise usually manages outside of its feature films.

Let’s talk about the storyline itself. This week, everything was tied together. There were secondary plotlines with Gray and Zora and with Book, Stamets, and the doctors, but they all came together and connected with the main story in significant ways as Captain Burnham led the USS Discovery inside a subspace rupture that the DMA had left behind.

The USS Discovery approaches the void.

We learned something major about the DMA: that it’s of extragalactic origin, or has, at the very least, passed through the galactic barrier. This would seem to narrow down Unknown Species 10-C to a handful of suspects, assuming that the galactic barrier depicted in past iterations of Star Trek remains generally impermeable to residents of the Milky Way. There were comments from Book and Stamets that this evidence all points to Unknown Species 10-C being someone that “the Federation has never encountered,” but I don’t think we can be certain of that just yet. The Burn seemed to be connected to Ni’Var’s SB-19 project in Season 3… until it wasn’t! We’re barely halfway through the season, so there’s plenty of time for hypotheses to be debunked! In this week’s theory post I’ll go into more detail about what this revelation could mean for Unknown Species 10-C, so stay tuned for that!

Venturing inside a rift in subspace was a dangerous assignment, but one that was certainly necessary for understanding more about the DMA. There really isn’t much to nitpick on this side of the story, and Captain Burnham handled it about as well as any other captain could have. Captains Kirk, Picard, Sisko, Janeway, or Archer would all have made similar choices under the circumstances, and we can point to many moments in past Star Trek shows where similarly dangerous scientific missions have gone awry despite the best efforts of the various captains.

Captain Burnham did everything she could to get her crew home.

Discovery has some very expansive sets when compared to past iterations of Star Trek, with the bridge in particular being larger and wider than basically any other to date. But despite that, this week I felt a real sense of claustrophobia in the style of old war films set aboard submarines. Stormy Weather was basically a bottle show – an episode set almost exclusively aboard the ship making use of existing characters. Rather than that being a limitation, as it sometimes has been in past iterations of Star Trek, the episode leaned into this in the best way possible, drawing on the inherent strengths of that style of story to create a genuinely dark and unsettling atmosphere aboard the ship.

This began with Gray and Zora alone in the lounge and culminated in Captain Burnham staying behind on the bridge, with only Zora for company, as the desperate last-ditch attempt to escape the void came to a head. Discovery has made interesting use of fire this season, and I’ve seen some criticism of the way the pyrotechnics come across on screen. But here, the combination of CGI plasma and jets of real fire worked exceptionally well, building up a sense of genuine danger that Captain Burnham, and indeed the whole crew, were in.

A combination of CGI and pyrotechnics made for a thrilling and dramatic presentation at the episode’s climax.

At this point, after more than three seasons of Discovery, we know that the show has a tendency to blitz through some of the technobabble and sciencey stuff to get to the drama and action, and so it proved again in Stormy Weather. As happened last week, when the DMA’s artificial origin was confirmed in a short scene with a few lines of dialogue, its extragalactic origin was likewise only included in a pretty short sequence. I liked the concept behind it – that the energy surge that hit Book left behind trace particles that could be used to uncover another piece of the puzzle. That setup was interesting. But the conclusion was once again very quick, almost rushed, and I feel more could’ve been made of both of these points.

Another point of criticism I had concerns Dr Pollard’s sequence in the hallway. I said before the season began that killing off a known character can be a great way for a show like Discovery to communicate the stakes involved. And as Dr Pollard raced to the hull breach, there was for a brief moment a feeling that she might’ve been running to her demise. In the end, though, it was a redshirt who ended up being killed – and the death was far less impactful as a result.

More could have been made of this moment.

Now I’m not on some anti-Pollard crusade wishing death upon the character! But hers is the latest example of how Discovery wants to have its cake and eat it too: the writers want all of the emotional impact of a character death but without being willing to commit to making it someone significant. We saw this in Season 2 with Airiam, and again in Season 3 when practically everyone survived despite the dangerous situations the crew found themselves in. The danger in flirting with character deaths but failing to follow through is that the show is slowly building up a sense of plot armour; there’s a developing feeling that basically no one who gets so much as a speaking line in an episode will be in any real danger. And that will have an effect as the season progresses – potentially making similar moments feel less impactful or tense in future episodes.

To be fair, past iterations of Star Trek had this problem too – but television storytelling has evolved since then. In a world where shows like Lost, Game of Thrones, and The Walking Dead pioneered a concept that I call the “disposable cast,” where even major characters can be killed off at the drop of a hat, Star Trek has to take note. Audience expectations are shifting in some respects, and if Discovery wants all of the trappings of modern television storytelling, it has to be willing to boldly swing the proverbial axe on occasion.

This could have been a good moment to kill off a named character instead of a redshirt.

Last week, the addition of wonderful guest star Shawn Doyle as mad scientist Ruon Tarka meant that I didn’t really feel Tilly’s absence. Stormy Weather was different, though, and I think we’re seeing the first real effects of her departure. Tilly suffered with anxiety, and doubtless would have found the void a difficult situation to deal with. But even at her most nervous, she had a way of lightening the mood and ever so slightly lowering the tension. Perhaps a story like Stormy Weather needed her absence to function as intended – and I concede that argument. But at the same time, I look back on the episode and wonder what Tilly might’ve said, how she might’ve found a way to break through some of the more tense moments with Captain Burnham, Stamets, Book, Zora, and everyone else. Adira fills Tilly’s shoes in several key ways – but no one can truly replace the lighthearted energy that she brought to Discovery.

In a fast-paced sequence at the beginning of Kobayashi Maru, we got to see the crew working under Captain Burnham’s command as one well-oiled machine. After that, though, Discovery took the captain on several smaller adventures off to the side, and it wasn’t until Stormy Weather that we saw her in such a tense situation, having to really feel the burden and weight of command. Like Star Trek captains past, she stepped up. I was reminded of the scene in the episode Booby Trap where Captain Picard takes the helm and pilots the Enterprise-D as Captain Burnham arrived on the bridge, alone, to sit in the captain’s chair and guide her ship and crew to safety.

Captain Burnham in her EV suit.

Speaking of The Next Generation, it was neat to see an oblique reference to the episode Relics. In that episode, Scotty was found alive in a transporter pattern buffer, and it was this method that the crew of Discovery were able to use to survive the dangerous journey out of the void. Discovery hasn’t been shy when it comes to harkening back to past iterations of the franchise this season, which has been fun to see. Shooting so far forward in time has expanded the number of callbacks and references that the show is able to do, and the writers – who are clearly big Trekkies themselves – have taken full advantage.

Along with Ian Alexander, we also have to praise Sonequa Martin-Green for her performance this week. Captain Burnham had a complex role this time, one that required her to put any thoughts of failure to one side and to focus on getting her ship and crew to safety. But she also had to find time for empathy, to share her feelings with Zora to help the AI deal with her own newfound emotions. On both sides Sonequa Martin-Green really nailed it, and Stormy Weather is one of the absolute best Captain Burnham episodes as a result.

Stormy Weather really showed off Captain Burnham at her level-headed best.

The themes of trauma, empathy, and unexpected connections were all present in Stormy Weather as they have been all season. This time it was Zora who needed the most help, in a manner somewhat reminiscent of Data in Generations. Developing emotions for the first time led to Zora’s first experience with fear, just as installing his emotion chip did for Data, and both found themselves overwhelmed and struggling to cope. Just as Data’s friends rallied around him, so too Zora found help from both an old friend in Captain Burnham and a new friend in Gray.

It fell to Captain Burnham and, to a lesser but still significant degree, Saru, to remain level-headed as the situation deteriorated. Captain Burnham had to find a way to connect with Zora in order to convince the AI to go through with the plan to escape. Likewise, Saru had to calm Commander Owosekun when tensions on the bridge threatened to boil over. We’re seeing again the very different ways that people respond to trauma: in this case, Zora almost completely shut down, feeling overwhelmed and unable to do anything, whereas Owosekun wanted so badly to do something that she became angry. These themes are almost certainly going to run through the rest of the season, and will go a long way to keeping Discovery grounded in its characters rather than being lost in sci-fi wonders.

Owosekun, Saru, and Detmer on the bridge.

One scene in particular hit close to home for me. After Book had been hit by the energy surge and was recovering in sickbay, he had a moment with Doctors Pollard and Culber where he tried to ask if he was losing his mind, going crazy, and if the hallucinations he was experiencing would last. Having been in a similar position in hospital, struggling and not knowing where my mental health issues began and ended, I found David Ajala’s performance very emotional in that moment.

Book’s hallucination of his father stemmed from the fact that it was his father’s birthday – and we know that mental health issues can absolutely manifest from things someone is already thinking about or dealing with. His line to his father that he hoped he was real, because it would mean his spirit still exists and thus Leto, Kyheem, and others might still exist somehow too, was another deeply emotional line. Though the episode didn’t focus on Book, this presentation took him to completely different emotional places, and I found it resonated with me in a very personal way.

I found Book to be very relatable in this moment.

So I think that’s it for this week. Stormy Weather really has set a high bar for the rest of the season to reach! It would have been easy for an episode like this one to come across as feeling like mind-numbing action, but Discovery’s tight focus on characters and emotions elevated it to being so much more than that. Little moments with the show’s secondary cast were greatly appreciated, and almost everyone got a line or two of dialogue this week. It felt like the plans to escape the void were a real team effort – and not just another “Burnham saves the day” story that we might’ve seen in Seasons 1 or 2.

There was some disappointing news yesterday, though. At the last minute, it’s been announced that Discovery is taking a mid-season break after next week’s episode, going off the air for around six weeks before resuming in February. ViacomCBS and Paramount+ need to do better at communicating with fans, because this is the latest in a long line of unnecessary blunders. Fixing Star Trek’s scheduling conflicts has to be a priority, too – Prodigy only aired four episodes before taking a break, now Discovery gets half a season before it too has to take a break. It’s possible that there are behind-the-scenes delays, perhaps with post-production work on Picard or Strange New Worlds – but it’s not a good look for a company trying to market a big franchise and an expanding streaming platform. Fixing these problems needs to be a priority for Star Trek’s corporate overlords.

Next week looks to bring back Ruon Tarka, which should be a lot of fun! Stay tuned in the days ahead for my updated theory list – including several ideas about the DMA and its possible creators. And if you celebrate, I wish you a very Merry Christmas Eve! I hope your holidays are successful and fun!

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.

Winter sale deals for PC gamers

Important:

ALL SALES DISCUSSED BELOW HAVE NOW ENDED.
Prices listed below will no longer be correct.

Check back in June/July for my picks from 2022’s summer sales.

It’s the most wonderful time of the year! No, not Christmas or Hannukah – it’s time for some of the biggest sales in PC gaming! Steam, Origin, GOG, and Epic Games all have major sales right now, and there are some steep discounts and great deals to be found.

PC gaming can be incredibly expensive to get started with, especially with sky-high prices for graphics cards and other components at the moment (thanks, crypto-miners). But huge sales like these go a long way to making up for the high cost of entry in my opinion! Steam sales have rightly acquired near-legendary status among gamers, and consoles really can’t compete with the steep discounts on offer.

So this time, for the third year in a row, I’m going to pick out a few of the best deals and discounts – and maybe give you a few ideas for games to play over the holidays and into 2022!

Deal #1:
Star Trek: Voyager – Elite Force
GOG, 19% discount, £6.79

Elite Force is one of the rare Star Trek video games that broke through to players outside of the existing Star Trek fandom. For a time shortly after its release in the year 2000, the game was a must-play in the budding multiplayer first-person shooter space on PC. It was the first FPS that I played at a LAN party shortly after the turn of the millennium, and I had a blast with Elite Force.

The game has a solid campaign, too, with players taking on the role of an ensign aboard the USS Voyager. Elite Force brought back most of the cast of Star Trek: Voyager to voice their characters, further adding to the sense of immersion. And the campaign’s story is very Star Trek-y, as the USS Voyager is sucked into a void in space. GOG also has discounts on a few other Star Trek games, so check out the likes of Away Team and Hidden Evil too!

Deal #2:
Red Dead Redemption II
Epic Games/Steam, 50% discount, £27.49

After more than 100 hours across three months, I finally beat Red Dead Redemption II just a few days ago. The game is both beautiful and incredibly bleak, with an emotional story that will leave you jumping for joy and wallowing in melancholy. Stay tuned for a full write-up in the near future, because I’ve got a lot more to say about this one!

Rockstar Games took their open-world format and applied it to the late 19th Century, crafting a visually gorgeous rendition of the American Midwest and South in that era. Players take on the role of Arthur Morgan – an outlaw who rides with the Van Der Linde gang. Expect the usual chaos and mayhem as Arther robs banks and gets into shootouts, but be prepared for emotional gut-punches too. Red Dead Redemption II is a long game, but if you get stuck into it you won’t want to stop playing when it’s over.

Deal #3:
Kena: Bridge of Spirits
Epic Games, 25% discount, £23.99

Kena: Bridge of Spirits is almost certainly my favourite game of 2021. The adorable adventure game plays like a wonderful homage to older 3D titles while simultaneously making full use of decades’ worth of graphical improvements to look absolutely stunning. Kena: Bridge of Spirits was already competitively-priced, so to be able to snap it up at a discount feels like a real bargain!

One thing I admire about Kena: Bridge of Spirits is that it doesn’t hold your hand. You’re given all of the gameplay tools to navigate an area and then left to do so – there are no arrows pointing where to go nor a barrage of pop-up tips. It also features the Rot: adorable little critters who help Kena on her journey to the Mountan Shrine. You can read my full review of Kena: Bridge of Spirits by clicking or tapping here.

Deal #4:
Cyberpunk 2077
GOG/Epic Games/Steam, 50% discount, £24.99

I haven’t found many nice things to say about Cyberpunk 2077, the game which ended up being a crushing disappointment to many players who jumped aboard an out-of-control hype train. Even today, a year on from one of the worst game launches of recent times, it’s still not in a particularly good state – and as I’ve said more than once, the actual game hiding underneath the bugs and glitches could be described at best as being “above-average.”

But Cyberpunk 2077 has an interesting story, and when it works there’s no denying its dense cityscape is a sight to see. With a reasonable discount it feels like an acceptable buy, and with further patches to come in 2022, this could be a game worth picking up now with a view to playing in six months’ time once more development work has been done. Just remember to set appropriate expectations: Cyberpunk 2077 isn’t a genre-redefining experience that pushes the boundaries of what video games can be. On a good day, it’s an above-average role-playing shooter.

Deal #5:
Star Wars Jedi: Fallen Order
Steam/Origin, 63% discount, £12.94

Jedi: Fallen Order is the single-player Star Wars game that fans had been asking for for almost a decade, and served as a great palate cleanser after the controversies around Battlefront II and even The Rise of Skywalker. A fantastic story-driven action-adventure, players take on the role of abandoned ex-Padawan Cal Kestis in the years between Revenge of the Sith and the Original Trilogy.

Jedi: Fallen Order has a unique and engaging story, one that really pulled me in and made me feel like I was living through my own Star Wars adventure with Cal and the friends he met during his journey. The game is tightly-focused on lightsaber combat and a handful of Force powers, allowing less choice than some titles but honing to perfection those elements it chooses to include. Origin also offers Jedi: Fallen Order as part of a bundle with Star Wars Squadrons and Battlefront II – which could be a good deal if you haven’t played any of those titles!

Deal #6:
Shenmue I & II
Steam, 75% discount, £6.24

Although the Shenmue saga’s third entry, which was funded primarily by fans, didn’t accomplish the goal of concluding the story, the first Shenmue in particular is one of the best games that I’ve ever played and I’ll happily recommend it to fans of single-player titles for as long as I live! Originally released on the Dreamcast, Shenmue and Shenmue II follow the story of martial artist Ryo Hazuki following the murder of his father. The quest takes Ryo from his native Japan to Hong Kong and beyond.

For younger gamers who’ve grown up with 3D environments, open worlds, and the like, it’s difficult to fully communicate how revolutionary Shenmue felt when I first played it in the year 2000. It was the first game I felt was truly cinematic, and that told a story that could’ve been from a novel or a series of films. Shenmue was the game that showed me what video games could be – and it will always be special to me for that reason. Oh, and the first game has some Christmassy elements, so it’s great to play at this time of year!

Deal #7:
Fall Guys
Steam, 50% discount, £7.99

The only online game I can honestly say I’ve enjoyed from the past few years, Fall Guys is an obstacle course battle royale; a cute cartoony version of the likes of Total Wipeout. It’s an absolute blast, and there really isn’t anything quite like it on the market. Despite a recent buyout by Epic Games, Fall Guys is currently only available on Steam and PlayStation – with Xbox and Nintendo Switch versions both suffering long delays.

Fall Guys’ reputation may have been tainted by a cheating problem that plagued matches early in its life, but that was fixed a long time ago. The addition of new rounds offering new challenges has kept the game fresh, and if you’re sick of the usual shooters and third-person action-adventure games, Fall Guys could be the breath of fresh air you’ve been looking for!

Deal #8:
The Elder Scrolls III: Morrowind
Steam, 70% discount, £3.89

A few weeks ago, Skyrim hit its tenth anniversary, and next year Morrowind will celebrate its twentieth! With The Elder Scrolls VI still years away, it could be a great time to either get back into Morrowind or to pick up the game for the first time if you missed out when it was new. Morrowind is by far my favourite Elder Scrolls game, and I think even Skyrim players will be surprised at just how much there is to do.

Morrowind has more NPCs than Oblivion or Skyrim. It has more weapon types, more magic spells, more factions to join, and two expansive DLC packs that add even more to a base game already overstuffed with content. Its text-only interface may be offputting to some players, but if you can look past that limitation you’ll find what I consider to be one of the finest role-playing games ever created.

Deal #9:
Super Woden GP
Steam, 50% discount, £5.14

Super Woden GP is a very old-school racing game with an isometric perspective. It’s a lot of fun, a throwback to the days when racing video games seemed to be based on the games kids would play with toy cars! Super Woden GP includes over 70 real-world cars and a varied mix of tracks. There’s no first-person view, and this isn’t a simulation experience by any stretch. It’s just good old-fashioned racing fun.

There have been some great racing games this year. Forza Horizon 5 is just one example! But if you want something a little different, a game that has more of a classic feel, Super Woden GP is definitely a title I can recommend.

Deal #10:
Mafia: Definitive Edition
Steam, 50% discount, £17.49

Developers Hangar 13 could show Rockstar a thing or two about how to truly make a “definitive edition!” This remake of the first Mafia game from 2002 truly transformed the game and brought it fully into the modern day. When I first played Mafia on the original Xbox I thought I was getting “Grand Theft Auto III in the ’30s,” but that doesn’t do the game justice. It’s an amazing story-driven action game in its own right.

2021 has been a year of disappointing “remasters” that, for the most part, have ended up feeling like barebones reskins or just repackaged re-releases. But Mafia: Definitive Edition, which came out in September 2020, is in a completely different league. If you missed this game the first time around, or if you haven’t played it since the early 2000s, it’s absolutely worth a buy.

Deal #11:
Halo: The Master Chief Collection
Steam, 50% discount, £14.99

Since we’re talking about great remakes, Halo: The Master Chief Collection is another fantastic release. Comprising the first six games in the Halo series, all you’re missing is Halo 5 – and if you’re planning on playing Halo Infinite at some point soon, it’s definitely worth getting reacquainted with the long-running sci-fi shooter series.

The first couple of Halo games, which came out on the original Xbox, were certainly beginning to show their age in terms of visuals, so the overhaul was greatly appreciated! I have fond memories of playing Halo: Combat Evolved with friends – both co-operatively and competitively – so for me this one can be a bit of a nostalgia trip. For the price, getting six great first-person shooters feels like a steal, so this is an easy one to recommend.

Deal #12:
Control: Ultimate Edition
Steam, 70% discount, £10.49

I played through Control for the first time earlier this year, and I had a blast! It’s a spooky game in some ways, with the malevolent Hiss an ever-present and very unnerving adversary. Control has a very clever design, making creative use of what might otherwise be fairly bland office environments to tell a genuinely engaging and interesting supernatural story.

I found Control to be one of the most accessible games I’ve had the good fortune to play. With various modes and options to cater to players with differing abilities, Control went out of its way to be as open as possible. That’s something I feel more titles need to do as we move into the new console generation.

Deal #13:
Road 96
Steam, 20% discount, £13.56

Road 96 is a unique narrative experience that feels as if it was inspired by recent events! Taking place in a fictional country that resembles the American Southwest, players must make it to the border and escape from the authorities – undertaking a road trip and meeting dozens of interesting characters en route, each with their own stories to tell.

It’s a clever game with a great soundtrack and a neat premise, very heavy on story. Road 96 also has an artistic visual style that adds to the experience. If you’re in the market for something different, a single-player game that isn’t just about shooting, Road 96 might be the indie game for you!

Deal #14:
Banished
Steam, 66% discount, £5.09

Banished is a non-violent town-building game in which you have to carefully manage limited resources to keep the population healthy and happy. It’s almost deceptively simple but very tricky to master – even with all the hours I’ve logged it’s still a challenge!

I can’t get over the fact that Banished was made by one single person. Even if it had been made by a whole studio I’d still heap praise upon it, but the fact that this entire complex experience was put together by a single developer never fails to amaze me. There are some fun mods for Banished that the fan community has made in the years since its 2014 launch – some of which add whole new ways to play. For such a low price it’s an absolute steal!

Deal #15:
Jade Empire: Special Edition
Steam, 75% discount, £3.74

If you’re a fan of BioWare’s games, make sure that you didn’t miss out on Jade Empire! Released as an Xbox exclusive in 2005, Jade Empire is a role-playing game set in a world inspired by Chinese legends. It blends martial arts and magic in a truly fun and unique experience. Released in between Knights of the Old Republic and Mass Effect, I feel Jade Empire gets somewhat overshadowed – but it should be hailed alongside those games!

All of the trademark BioWare elements are here: well-written characters, a story with multiple endings, building up a group of characters and taking them on a journey. If you’ve played any other modern BioWare title the gameplay will feel familiar – but the story is well worth experiencing for yourself.

Bonus:
Epic Games Coupon
Epic Games, £10/$10

This one isn’t a game! But for the duration of the holiday sale, Epic Games are offering a coupon with a value of £10, $10, or the equivalent in your local currency to spend on games priced over £13.99 or equivalent. The coupon is valid even for titles which are on sale provided they’re priced above £13.99, so it can be a great way to stack up the discounts. For example, Cyberpunk 2077 would be £14.99 on Epic Games, or Red Dead Redemption II would be £17.49.

So that’s it!

We’ve picked out fifteen deals from the various PC digital shops and their big winter sales. There are a ton more games on offer at this time of year, so have a browse and maybe treat yourself to something new to play over the holidays! I know that’s what I’ll be doing!

All titles listed above are the copyright of their respective studio, developer, and/or publisher. Some screenshots and promotional artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery theories – week 5

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4, Star Trek: Picard Season 1, Short Treks, and for other iterations of the Star Trek franchise.

After a couple of weeks where Discovery took character-focused detours, The Examples brought the story right back to the DMA – the dark matter anomaly that’s wreaking havoc across the galaxy. We learned something incredibly significant this week that will most likely have a huge impact on the season’s main storyline… but is everything as it seems?

The biggest question I have right now is about Unknown Species 10-C. Who could they be? And are they a faction we’ve encountered in a past iteration of Star Trek? My heart wants to say they’re someone familiar; that all of the callbacks and references we’ve had in Season 4 so far are building to some kind of big reveal. But my head says “no” – Unknown Species 10-C will turn out to be someone new and unpredictable.

But enough about that for now! We have several theories that were advanced by The Examples this week, as well as one that was debunked and one that was at least partially confirmed. So let’s take a look at those and then get into the main list!

Debunked theory:
Dr Culber will tell Stamets that he needs to slow down.

Stamets and Culber in The Examples.

This one surprised me by being a complete inversion of what I was expecting! After Stamets had seemingly gotten lost in his work, overworking himself desperately trying to figure out the DMA, I felt sure that Dr Culber would have something to say. In Choose To Live, Stamets missed out on Gray’s incorporation, and wasn’t there to support Adira. In All Is Possible, he missed out on talking with Tilly before she left the ship.

I felt that Stamets perhaps needed someone – particularly the man he loves – to intervene and warn him about the dangers of overworking and the family moments he’s been missing. Instead it was Stamets who helped Dr Culber: Discovery’s doctor has been throwing himself into his work, too, neglecting his own mental health for the sake of his patients. It was a neat reversal of a storyline I was expecting – and I think we’ll see more in this vein from Stamets and Culber before the end of the season.

Confirmed theory:
The DMA is a super-weapon.

The moment at which the DMA’s artificial nature was confirmed.

Though it was arguably a conclusion that was arrived at too quickly near the beginning of The Examples, Stamets and Captain Burnham confirmed – thanks to some help from Zora – that the DMA is not a natural phenomenon. Though a natural disaster would have been an interesting story in itself, this always felt like the direction of travel for Discovery, so I wasn’t exactly stunned to learn this!

At present, Captain Burnham and Starfleet are working on the assumption that the DMA is a super-weapon – something I’d been predicting ever since we first heard that some kind of anomaly was going to be a major part of Season 4. Right now, that seems like a logical assumption – and it may very well be true. But as we’ll discuss in a moment, even though the assumption right now is that the DMA is a super-weapon, that may not actually prove to be the case. I can think of several ways in which the DMA could be artificial yet not a weapon! But for now, since Captain Burnham, Admiral Vance, and everyone else on the show are content to assume it’s a super-weapon of some kind, I’m calling this theory confirmed!

So those theories were debunked and confirmed.

Now we’ll get into the main list, beginning with the theories that are either brand-new or which saw significant movement in The Examples.

Theory #1:
The story will connect with the Short Treks episode Calypso.

The USS Discovery in Calypso.

This week we got a few lines from Zora – the USS Discovery’s shipboard AI that we first met in Calypso. Zora was involved in confirming the DMA’s artificial nature, but later in the episode we got something far more significant thanks to a short conversation with Captain Burnham: Zora has begun to experience emotions.

In Calypso, Zora was definitely an emotional life-form, so this evolution in their (her?) personality is a significant step toward Calypso – and one that I hadn’t really considered until after it had happened. Until now, the Zora aboard the USS Discovery had been different from the Zora we’d met in Calypso, but after this week’s episode we’re a big step closer to reconciling the two presentations of the character.

There are still significant hurdles to overcome if the story of Calypso is to be wrapped up in Season 4, though. Obviously we have the timeframe issue: will the USS Discovery be sent back in time, be abandoned, or is Calypso taking place centuries in the future? Then we have the USS Discovery itself – it’s been retrofitted since arriving in the 32nd Century, and now looks very different to how it did in Calypso. Despite all that, however, a connection is one step closer today than it was last week.

Theory #2:
Zora will go rogue.

Zora.

Sticking with Zora, their newfound emotions are a very interesting – and somewhat alarming – addition to the season’s storyline. When Data first installed his emotion chip in Generations, he found the new emotions overwhelming and impossible to cope with at first – could something similar be about to happen to Zora? Will they fail the crew at a key moment? Even worse, might Zora go rogue and become a villain?

The dangerous nature of artificial intelligence has been a theme Star Trek has returned to time and again since The Original Series episode The Ultimate Computer all the way back in 1968. But recent iterations of Star Trek in particular have used narratives involving evil or out-of-control AIs and synthetic life several times: there were the rogue synths and the super-synths in Star Trek: Picard’s first season, and in Discovery’s second season we had the Control AI.

Zora told Captain Burnham of a “recent development” in The Examples.

Captain Burnham seemed concerned at Zora’s newfound emotions, but had other things on her mind so didn’t have time to deal with it then and there. What might be even more concerning, though, is the fact that Zora chose to conceal that fact for a time, choosing not to share their most recent evolution.

Perhaps a storyline like this would feel repetitive coming after Season 2 had to deal with Control. But I think it could be made to work, and it could even be made to fit in with Calypso with a bit of creative writing! Whether this theory comes to pass or not, though, I think we’re going to see something significant from Zora before the end of Season 4.

Theory #3:
The DMA isn’t a super-weapon.

The DMA as seen in Anomaly.

Okay, I know! I just said that the DMA is a super-weapon and patted myself on the back for successfully predicting that story beat months ago! But here’s the thing… the DMA being artificial in nature doesn’t mean that it’s a weapon, despite the assumptions made by Captain Burnham, Admiral Vance, and others.

The DMA could be an out-of-control experiment, perhaps something designed to allow faster-than-light travel without the need for dilithium. Stamets and Ruon Tarka suspect that it possesses the technology to create a synthetic wormhole, something that could be very useful for travelling in a dilithium-poor galaxy.

An accident or an experiment gone wrong would set up a very different kind of story to a super-weapon, one that would replace a villainous adversary with a puzzle of a scientific nature. That could be a fun and interesting way for the season to go – not to mention that it would be subversive and challenging to the audience’s expectations.

Theory #4:
The DMA is a life-form.

The USS Enterprise and V’Ger in The Motion Picture.

The DMA could also turn out to be a life-form in its own right, perhaps a synthetic one or something akin to The Motion Picture’s V’Ger. If that were the case it may not be attacking anyone, but simply exploring or trying to make contact. After all, “they were only trying to communicate” has become a Star Trek trope at this point!

Star Trek has shown us many different forms of synthetic life over the years, and while the DMA would certainly be one of the most unusual, it wouldn’t be entirely without precedent. Seeking out new life is at the very core of Starfleet’s mission, and finding a way to communicate with the DMA and figure out what it wants or needs could be a very interesting story – one about understanding and bridging the chasm between different cultures and societies that Star Trek has always done so well.

Theory #5:
Unknown Species 10-C is a faction from a past iteration of Star Trek.

Could the Borg have built the DMA?

Regardless of the intention behind the DMA, it does indeed appear to be an artificial construct. Whoever created it had a reason for doing so, even if that reason isn’t clear right now! But who could be responsible?

I recently put together a list of suspects, and I strongly encourage you to check out the full list by clicking or tapping here.

If you don’t have time for that, here’s the condensed version: the Borg, the Sphere-Builders from Enterprise, the super-synths from Picard Season 1, the Kelvan Empire, Section 31, and Species 8472 are just some of the possible culprits. For a more detailed version, check out the full list linked above.

Theory #6:
President Rillak knows what the DMA is and may be responsible for its creation.

President Rillak in Kobayashi Maru.

We didn’t see President Rillak this week, though she was briefly mentioned by Admiral Vance. But when I think about the possible suspects for creating the DMA, the Federation – and by extension, President Rillak – are unquestionably on that list.

President Rillak is a cunning, almost Machiavellian politician, willing to do anything to advance what she considers to be the best interests of the Federation. I believe Captain Burnham needs to be very careful with President Rillak. During the events of All Is Possible, working with Captain Burnham was advantageous to the Federation’s president – but I have no doubt that she’d throw Burnham and the USS Discovery under the bus without so much as blinking if she believed it would be to her advantage. Which brings us to the DMA.

President Rillak might know more about the DMA than she’s currently letting on. If the Federation had created a weapon like this, or if it was an experiment gone wrong, covering it up might be her objective even if she wasn’t necessarily the one who ordered the DMA’s creation. Also, with the goal of reuniting the Federation foremost in her mind, President Rillak may prove to be the sort of uncompromising politician who’d willingly unleash destruction upon the galaxy if she believed that doing so would serve a greater purpose.

Theory #7:
Dr Kovich is an agent (or the head) of Section 31.

Dr Kovich in The Examples.

I freely admit that this theory is barely clinging on right now, but I don’t believe it’s been completely disproven just yet! The questions of who Dr Kovich is and what exactly his role is within Starfleet and/or the Federation have no clear answer right now. He’s clearly someone with power and influence, as we’ve seen him working with Admiral Vance and seemingly being able to appoint anyone he chooses to be an instructor at Starfleet Academy. Yet he also seems to have some medical training, serving as a psychologist or counsellor – and it’s in this capacity that we saw him this week.

Because of the unclear nature of his role and the mysterious, stoic presentation from David Cronenberg, Dr Kovich is still an enigma. He’s also the kind of man who could potentially be an agent of Section 31. If it turns out that the Federation, President Rillak, and/or Section 31 are involved with the DMA, perhaps we’ll learn that Dr Kovich is as well. Or perhaps such a storyline will finally put this theory to bed once and for all!

Theory #8:
Captain Burnham and/or the Red Angel suits from Season 2 are connected to the DMA.

Captain Burnham in Anomaly.

Now that we know the DMA is artificial in nature, the question shifts to who built it and why. We’ve covered the idea of it being a weapon or an out-of-control experiment, as well as being a life-form in its own right. It could also be the responsibility of Section 31 or the Federation. But because this is Star Trek: Discovery, a show which likes to put Captain Burnham at the centre of its stories, perhaps there’s a connection to her that we’re missing.

The Red Angel time travel suits from Season 2 were phenomenally powerful machines, capable of generating time-wormholes large enough to transport an entire starship 930 years into the future. We already know that the DMA potentially contains a synthetic wormhole, so it wouldn’t be a huge leap to connect the two. We also don’t know for certain what became of Captain Burnham’s Red Angel suit after the Season 3 premiere. There’s also the faint possibility of a parallel universe Burnham or time travelling Burnham being responsible.

Theory #9:
Stamets and Ruon Tarka will create the DMA.

Stamets, Tarka, and Saru with the DMA model.

I included Stamets and Tarka on my list of suspects a couple of days ago, but they warrant a full entry on the theory list too! In short, we saw Stamets and Ruon Tarka creating a scale model of the DMA in The Examples, and according to Reno their experiment came very close to destroying the entire ship. They were able to perfectly recreate the device at the centre of the DMA, albeit on a smaller scale – so what’s to prevent them from building a full-scale replica?

This theory suggests that they will – somehow – and that doing so will set into motion a chain of events that leads to the creation of the DMA in a kind of time-loop storyline. The DMA’s wormhole-generating technology may give it the ability to travel backwards through time as well as across vast distances, so it seems technologically plausible at the very least.

Tarka and Stamets working on their model.

Ruon Tarka was shown as impatient in The Examples, and in his single-minded pursuit of the DMA he may be willing to take risks – perhaps risks which ultimately lead to the creation of the very anomaly he’s been investigating. How such a story would conclude is up in the air, but I don’t think we can rule it out as a possibility right now.

Personally, I find time-loop paradox storylines to be frustrating – and they can be very difficult to pull off successfully. There’s no beginning point to such a story: the DMA exists because the DMA was created because the DMA exists because the DMA was created… it’s an infinite loop. But we’ve seen Discovery tackle time travel stories like this before – and the pieces seem to be in play right now for this story.

So those theories are new or saw movement this week.

As always, I like to keep all of my theories in one place. So up next we’ll recap all of the other Season 4 theories that are currently in play. I find it helpful to keep the full list going like this – it makes it easier to keep track of all of the theories as they get confirmed or debunked.

Theory #10:
We haven’t seen the last of the Abronians.

I currently have four ideas for different ways that the Abronians – the non-humanoid race that Captain Burnham, Tilly, and the Qowat Milat helped save from cryo-sleep in the episode Choose To Live – could play a further role in Season 4.

Theory #10a:
The Abronians’ homeworld was destroyed by the DMA.

Captain Burnham believes this image depicts a “supernova.”

After arriving at the Abronians’ cryo-ship, Captain Burnham found a stone carving that seemed to depict the destruction of the Abronians’ homeworld. This carving was only shown on screen briefly, but it seemed to show the planet being damaged or destroyed in a large explosion. Burnham credited the planet’s destruction to a “supernova,” and the story then raced ahead.

Considering that the main thrust of the season so far has been about the DMA, perhaps Burnham was incorrect: the Abronian homeworld was destroyed by the anomaly, not a supernova.

Theory #10b:
The Abronians’ homeworld was on the “other side” of the DMA.

Abronian stasis pods.

One clip in the second Season 4 trailer appeared to show Captain Burnham leading the USS Discovery inside the DMA. We don’t yet know what that means, nor to what extent words like “inside” the anomaly or “the other side” of the anomaly are even coherent concepts. But many times in past iterations of Star Trek we’ve seen things like wormholes and gateways to parallel universes. Perhaps the anomaly is something similar – and passing through it leads to a different dimension, parallel reality, or just a faraway region of space.

One thing struck me as odd about the Abronians: the Federation was entirely unaware of them, despite the Abronian cryo-ship being relatively close to Federation space – such that Captain Burnham could reach it using Book’s ship in a short span of time. It’s possible that the Abronians had been asleep for millennia, unnoticed by the Federation and the wider galaxy for all that time. But it’s also at least possible that their cryo-ship is a newcomer to the area. If so, perhaps it arrived here via the DMA.

Theory #10c:
The Abronians will return to help the Federation later in the season.

A deceased Abronian.

One of the themes of Discovery since Season 3 has been connection, including building connections between the Federation and other races and organisations. The Abronians were awoken from cryo-sleep thanks to the interventions of Captain Burnham and Tilly – at least in part – and they may seek to repay the Federation, or Captain Burnham personally, for that help.

We saw this play out last season with Ni’Var; in the season finale Ni’Var ships raced to the Federation’s aid as the Emerald Chain attacked. Perhaps the Abronians will likewise step up to help when the Federation needs allies.

Theory #10d:
The Abronians’ moon-ship may be useful in a later story.

“That’s no moon…”

At this stage I can’t envision precisely what use Captain Burnham and the crew might have for a moon-sized starship… but that doesn’t mean such a need won’t arise! The Abronians’ cryo-ship is huge, and at least superficially seems to have the mass of a moon or small planetoid. If Captain Burnham and the crew needed something that large for some purpose, perhaps they’ll return and either take it or negotiate for it.

As we saw in Choose To Live, the moon-ship was in full working order. All it needed was some extra dilithium to power up and it was perfectly capable of moving under its own power, and its computer systems were still functional. The only system that seemed to have failed was the wake-up timer! So if – for reasons yet unknown – the crew need a huge starship, perhaps we won’t have seen the last of the moon-ship.

Theory #11:
Book will find Kyheem and Leto inside the DMA.

Book and Kyheem in Season 3.

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 almost eighty years earlier. We don’t know what the DMA 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 DMA 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 #12:
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 in the episode Anomaly. 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?

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. This could also set the stage for his departure from the show, or possibly even for a new show following his adventures aboard his new ship.

Theory #13:
A major character will be killed.

A Starfleet coffin 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.

Spock’s funeral 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. Though we’ve already had one departure this season – that of Lieutenant Tilly – I still believe that Discovery could very easily go down this road, especially considering how dangerous the DMA currently is.

For a breakdown of which characters I thought might be in danger before the season premiered, check out my list of “death predictions” by clicking or tapping here.

Theory #14:
There will be a character crossover from a past iteration of Star Trek.

Soji could potentially still be alive in the 32nd Century.

This theory returns from Season 3, where I doggedly clung to it for the entire season!

Discovery’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!

There were several great crossovers during The Next Generation era.

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 #15:
Michael Burnham won’t remain captain of Discovery.

Burnham in the captain’s chair.

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 The Examples.

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 #16:
The ban on time travel will be explained in more detail.

HMS Bounty was able to travel back in time.

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 #17:
The Federation has flouted the ban on time travel.

President Rillak may have tried to circumvent the ban if she felt doing so would be in the Federation’s interest.

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 might have. President Rillak could also be involved.

Obviously the bulk of the season’s story will deal with the DMA. 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 #18:
The crew will have to defend the Verubin Nebula.

The dilithium planet is vital to the Federation.

The Federation is still in a weakened state, 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.

Another view of the planet in the Verubin Nebula.

Season 4 has presented Captain Burnham and the crew with a scientific puzzle: the DMA. 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 #19:
Captain Burnham and the crew will encounter the Klingons.

General Martok, a 24th Century Klingon leader.

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 #20:
Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.

Stamets with a holographic galaxy map in The Examples.

Season 4 touched briefly on the Burn with Su’Kal and Saru in Kobayashi Maru, and may now seek to put last season’s story to bed so it can wrangle with the DMA instead. 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. To see a full write-up of this theory, click or tap here.

Theory #21:
The Guardian of Forever will be back.

The Guardian of Forever first appeared in The Original Series.

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 DMA 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 the main theory list.

We also have two production-side theories in play, and I’ll recap those now.

Production-side theory #1:
Tilly’s departure will be permanent.

Tilly’s departure feels permanent.

Mary Wiseman confirmed in an interview with Wil Wheaton on The Ready Room (Discovery’s social media aftershow) that Tilly will be seen again before the end of Season 4. But that doesn’t mean she will be a main character on the show going forward, and her departure feels permanent. Despite that, I’ve seen quite a lot of folks online who don’t believe that Tilly is actually leaving the series – so I wanted to put it out there officially and say that, in my opinion anyway, she is.

Maybe those people know something that I don’t! As I always say, I don’t have any “insider information;” all of this is just speculation on my part. However, I feel that the manner of Tilly’s departure, the fact that she got that emotional sequence with Captain Burnham, a montage showing her leaving the ship, Adira seeming to take over several of her roles, and her departure feeling like the culmination of her arc going back to the latter part of Season 3 all come together to strongly indicate that she won’t be back as a major character. She may yet have a significant role to play in a future Season 4 episode, as has been suggested, but unless Discovery’s writers are really playing with our emotions I believe we’ve seen Tilly’s end as a main character on the show. She may come back in a future Starfleet Academy series, though… so watch this space!

Production-side theory #2:
Star Trek: Discovery isn’t going to be renewed for Season 5.

Is a fifth season going to happen?

Since Discovery debuted in 2017, we’ve known by this point in the season that the show has been renewed. This isn’t one of those “I hate new Star Trek” things that we’ve seen doing the rounds online for years; I adore Discovery and genuinely want to see it continue. But it’s profoundly odd to be nearing the halfway point of Season 4 and to still have had no announcement about Season 5. For comparison, Star Trek: Picard has been renewed for Season 3 even though Season 2 won’t air until next year!

I’m hopeful that this is just a blip; a temporary delay for reasons unknown, and that the show has been renewed for Season 5 already behind-the-scenes. However, when we look back at Star Trek productions in recent years, it was often apparent that production work was quietly ongoing even if there hadn’t been any official word from ViacomCBS. As far as we know at this stage, there’s been no pre-production work on Season 5, let alone any filming taking place in the Toronto area.

Once again this is a “watch this space” kind of theory. I hope I’m wrong… but the lack of any news or even any significant rumours about the show’s future is beginning to have me worried.

So that’s it.

What adventure awaits the crew later this week?

Those are all of the theories that are currently in play as we await Stormy Weather – the sixth episode of Season 4. We’re accumulating quite a few theories, some of which completely contradict one another! So far, Discovery’s fourth season has been an interesting journey. We’ve has some slower character moments, some semi-episodic stories (that may yet come back into play), and some interesting developments in regards to the DMA. As we near the halfway point of the season, there are still many different ways that the story could go.

Stormy Weather looks like it’ll bring back Grudge – I hope the cute little ball of fluff will be okay! A dark matter anomaly is no place for a puss!

Before we go, one final point. I write up these theories because I like Star Trek and I like writing. But for some folks, fan theories can hamper their enjoyment of a film or television show. It’s worth keeping in mind that most of these theories probably won’t pan out, and we have to be prepared for the fact that even the most well-constructed fan theory, no matter how fun and plausible it seems, simply won’t turn out to be true. If you find that speculating and reading theories is beginning to detract from your enjoyment of Star Trek: Discovery – or any other television show or film – it might be a good idea to take a break for a while.

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.

Star Trek: Discovery Season 4 – Unknown Species 10-C: The Suspects

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4, Star Trek: Picard Season 1 and the trailers for Season 2, Short Treks, Star Trek Online, and for other iterations of the Star Trek franchise.

Are you as curious as I am about Unknown Species 10-C? Right now, this is one of the biggest mysteries in Star Trek: Discovery’s fourth season – and one of the most tantalising storylines that the series has ever teased us with. We don’t have much to go on when it comes to figuring out who Unknown Species 10-C might be… but don’t worry, that hasn’t stopped me from putting together a list of suspects!

Part of me feels that because Discovery has teased us with so many references and callbacks to past iterations of Star Trek so far this season, Unknown Species 10-C will be someone we’re already familiar with. But at the same time, I keep thinking back to Season 3 and the Burn storyline, and how the ending to that story was something completely unpredictable and brand-new to the franchise. It wouldn’t surprise me to see Discovery go down that road again.

Who is responsible for the DMA?

I successfully predicted that the dark matter anomaly – or DMA for short – was an artificial construct. Even though the DMA was initially teased as a scientific puzzle, it felt plausible verging on likely that Discovery would choose this direction for its main story, so I wasn’t stunned to get confirmation of that in the episode The Examples. The crew are now working on the assumption that the DMA is some kind of super-weapon… but that may not be the case. This is Star Trek: there’s always the possibility that this is an accident, an experiment gone wrong, or other such things!

Caveat time! I have no “insider information,” and I’m not trying to claim that any of the theories on the list below will pan out. I love being surprised by stories that go in unpredictable directions! This list is pure speculation from a fan of Star Trek, and nothing more. It’s also wholly subjective; if you hate all of my ideas or I don’t include your pet theory, that’s okay! We all have different ideas about what would make for a fun and exciting story, and there’s no need for fans to get into arguments about these kinds of things. This is supposed to be just for fun!

With all of that out of the way, let’s jump into the list – which is in no particular order.

Suspect #1:
The Borg Collective

The first Borg drone ever seen in Star Trek.

In The Examples, Admiral Vance listed several factions that Starfleet Intelligence believed would have the technological capability to create the DMA. One notable omission from his list was the Borg Collective – and at this point, we don’t know why that is. The Borg’s technology (at least as of the late 24th Century) was light-years ahead of the Federation’s, and when I think about the most powerful factions in Star Trek and someone capable of creating something like the DMA, the Borg are quite literally at the top of my list.

Admiral Vance may know something that we don’t; the Borg Collective may not exist in the 32nd Century, for example. But the omission of the Borg from his list may be a misdirect, with Discovery’s writers trying to keep the faction hidden until the right moment. A conspiracy theory? Maybe! But it may yet pan out. There have been several direct references to Star Trek: Voyager in Discovery’s fourth season, and Voyager was the most Borg-y Star Trek series. That could be a possible hint!

The Borg are very powerful, capable of building a galaxy-spanning transwarp network and assimilating trillions of individuals across thousands of races. Their ships, weapons, and technology far outpaced the Federation as of their last appearance, and while the DMA wouldn’t necessarily fit with their usual method of attack, we can’t rule out that the Borg’s tactics have changed.

Suspect #2:
The Gorn Hegemony

A 23rd Century Gorn captain.

This stems from something we heard right at the beginning of Season 3 more than a year ago. In the episode That Hope Is You, Part 1, Cleveland Booker told Michael Burnham that the Gorn had “destroyed subspace” for several light-years in the area around the planet Hima. Clearly, then, the Gorn possess powerful weaponry in the 32nd Century, capable of damaging subspace – and we know that the DMA is capable of tearing subspace too.

This was a throwaway line – but it proves that the Gorn are still active in the 32nd Century, and that while the Burn may have impacted their society, it clearly wasn’t stopping them from conducting experiments or weapons tests – whatever it was they did that “destroyed” part of subspace. The Gorn have also been shown as antagonistic toward the Federation in their handful of appearances to date, meaning that they can certainly be argued to have motive.

On the production side of things, the Gorn are a relative unknown. They could thus be brought into a range of different stories in very different ways, allowing Discovery’s writers and producers a lot of wiggle room to tell the kind of story they want to tell while simultaneously harkening back to the very first season of The Original Series. Interestingly, Admiral Vance proposed the Metrons as one of the suspects on his list – and it was the Metrons who pitted Captain Kirk against the Gorn captain in Arena.

Suspect #3:
The Kelvan Empire

Hanar, a member of a 23rd Century Kelvan Empire expedition.

The Kelvan Empire’s first and only appearance to date came in the second season of The Original Series. A powerful faction from the Andromeda Galaxy, the Kelvan Empire was in search of a new home due to an environmental disaster – and they had their sights set on the Milky Way for conquest.

Captain Kirk was able to convince a Kelvan delegation that peaceful co-operation might be better, and promised Federation aid to help them find new worlds to settle. This offer was transmitted to the Andromeda Galaxy via an unmanned starship that would take centuries to complete the intergalactic voyage. Whether the leaders of the Kelvan Empire would be open to such co-operation, however, isn’t clear.

If the Kelvan Empire rejected the Federation’s offer and set out to conquer the Milky Way, the timelines kind of line up for this faction to return. In The Original Series their technology was incredibly powerful, giving them the ability to reduce organic beings down to their base minerals – then restore them to life – using a powerful field projection weapon. The Kelvan Empire was clearly far more advanced than the 23rd Century Federation, and may be capable of creating a weapon on the scale of the DMA.

Suspect #4:
The Dominion

Weyoun, a 24th Century Dominion leader, with a Jem’Hadar warrior.

The introduction of Federation President Rillak – who is part-human, part-Bajoran, and part-Cardassian – has given us the first tidbits of information about what happened in the aftermath of the Dominion War. Though not stated outright, Captain Burnham’s comments in the episode All Is Possible seem to confirm that the Cardassians, Bajorans, and Federation have been at peace. But what of the Dominion?

The Dominion had existed for millennia prior to first contact with the Federation, and in many ways possessed technology that was at least slightly superior. It took the combined forces of the Federation, Klingons, and Romulans (with no small amount of help from the Prophets) to push the Dominion out of the Alpha Quadrant, so they’re clearly a strong and powerful faction. But after their defeat in the Dominion War, we don’t know what became of them.

Behind the Bajoran Wormhole, the Dominion may well have retained much of its territory. Perhaps, despite the best efforts of Odo, they sought to regroup and focused on developing new and powerful weapons. Or perhaps their dreams of peaceful coexistence were shattered by the Burn – an event emanating from Federation space and for which they may blame the Federation.

Suspect #5:
The Sphere-Builders

A Sphere-Builder seen in Star Trek: Enterprise.

The Sphere-Builders were an extradimensional faction who fought in one of the Temporal Wars. They attempted to use a large network of spherical space stations in a region of space called the Delphic Expanse to convert a large swathe of the Milky Way to match their native realm; they were unable to survive in our dimension.

Crewman Daniels told Captain Archer that the Sphere-Builders were eventually defeated in the 26th Century, but it’s not impossible to think that they were able to rebuild in the centuries after that climactic battle. It’s also interesting to note that the scale model of the DMA controller that Stamets and Ruon Tarka built in the episode The Examples was spherical in shape.

The DMA isn’t a perfect match for what the Sphere-Builders were trying to do in Enterprise – but we still don’t know exactly what the DMA’s purpose is, and it may have some hidden function that we aren’t aware of yet. The Sphere-Builders were clearly a very powerful faction, capable of constructing huge self-powered space stations, meaning that the DMA is certainly something they would be capable of creating.

Suspect #6:
The super-synths from Star Trek: Picard

Some very menacing synthetic tentacles.

Because of the somewhat rushed ending to Picard Season 1, we never got to find out much about the faction I’ve dubbed the “super-synths.” Similar in some respects to the Reapers from the Mass Effect video games, this powerful alliance of synthetic life claimed to want to help other synthetics… but was their offer genuine?

The super-synths possessed very powerful technology, and when considering the DMA, which has powerful gravitational effects, one very important thing to note is that the super-synths have experience with gravity and with huge power sources. They were capable of literally moving stars, creating an artificial eight-star octonary system to serve as a guide for synths.

In the Picard Season 1 finale we caught a very brief glimpse of some menacing-looking synthetic tentacles… but that was all we saw. One thing I find very interesting in the aftermath of Picard Season 1 is that the super-synths may now be aware of the existence of the Milky Way, the Federation, the Romulans, and the Coppelius synths – potentially giving them a reason to come here.

Suspect #7:
The Klingon Empire

Kol, a 23rd Century Klingon warrior.

We haven’t heard so much as a growl from the Klingons since Captain Burnham and Discovery arrived in the 32nd Century, so we don’t know what became of the Federation-Klingon alliance that we saw in the late 24th Century. Did it endure? Did the Klingons perhaps even join the Federation at some point? Or did the two powers drift apart and resume their rivalry?

We’ve seen the Klingons as villains in Discovery before, during the Federation-Klingon War depicted in Season 1. It would be interesting in some ways to return to that, and as veterans of that conflict the crew of Discovery could play a key role in battling the Klingons if the Federation hadn’t had to fight them for a long time.

As above with the Dominion, the Klingon Empire may blame the Federation for the Burn. The DMA could be their way of retaliating – or beginning to retaliate. The DMA could be seen as a kind of artillery barrage, designed to soften up the Federation before a larger-scale attack or invasion. The Klingon Empire may well employ tactics like that.

Suspect #8:
The First Federation

The USS Enterprise and a First Federation starship.

Another classic faction from The Original Series, the First Federation was first encountered by Captain Kirk in the episode The Corbomite Maneuver. The faction was clearly very powerful, possessing technology that far outpaced Starfleet in the 23rd Century. A single member of the First Federation was able to control a massive starship and disable the USS Enterprise during their first encounter.

The First Federation was implied to be much older than Starfleet and the Federation, and I’ve always had the sense that we only saw a fraction of the power Balok had at his disposal; the First Federation seem capable of far more destructive feats than we ever saw. Though relations with the First Federation seem to have been good, with trade happening well into the 24th Century, it’s possible that things changed.

The Burn is one potential catalyst for a souring of relations with the First Federation, and if they wanted to attack, they would appear to be more than capable of creating a weapon on the scale of the DMA.

Suspect #9:
Species 8472

A Species 8472 pilot seen in Star Trek: Voyager.

Species 8472 (also known in non-canon works as the Undine) are a race native to an extradimensional realm known as fluidic space. Fluidic space was notable for being entirely comprised of organic compounds, and Species 8472 were the only known native inhabitants. In the late 24th Century the Borg attempted to assimilate them – but they were able to fend off the attempt with ease.

There have been several references to Star Trek: Voyager in Discovery’s fourth season so far, so maybe those are teasing us with a more significant crossover! The last time the crew of Voyager encountered Species 8472 they were seemingly able to make peace… but was that peace destined to last?

Species 8472 were known to use organic technology that the Federation had a difficult time dealing with. They were also capable of creating non-organic technologies that could rival – or even surpass – 24th Century Starfleet, and they had the ability to change their forms so they could appear to be humanoid. We don’t know what became of Species 8472 after the events of Voyager – but in Star Trek Online they were a major antagonistic faction.

Suspect #10:
The Terran Empire

Planting the flag of the Terran Empire.

In the Season 3 episode Die Trying, Dr Kovich explained to Georgiou that it had been more than five centuries since there had been any contact between the Prime and Mirror Universes; the two universes had been slowly drifting apart. Perhaps the DMA is not so much a weapon as an attempt to re-open that link, one created by the Terran Empire – or their descendants.

The Terran Empire had fallen by the mid-24th Century, with Terrans being enslaved by the Klingon-Cardassian Alliance at that time. But it’s been a long time since then, and when we last saw the Mirror Universe, a Terran rebellion was in full swing. Perhaps over time the Terrans re-established their empire.

Alternatively, the Terran Empire of the 23rd Century could have attempted to break through to the Prime Universe, maybe intending to conquer the Federation. But for sci-fi reasons, instead of emerging in the 23rd Century they’ll emerge in the 32nd. After all, these kinds of technologies rarely work as intended in Star Trek!

Suspect #11:
The Q Continuum

“The trial never ends…”

I wouldn’t have placed the Q Continuum under suspicion but for the fact that Admiral Vance rather nonchalantly mentioned them and then immediately ruled them out. Maybe they should be ruled out – this behaviour seems rather un-Q-like, after all – but what if it was a double-bluff from the writers?

Admiral Vance told us in The Examples that there had been no contact between the Q Continuum and the Federation for 600 years – but that doesn’t mean that the Q are gone. They’re essentially immortal and timeless, capable of travelling through time with ease. The fact that they haven’t been encountered for centuries is hardly odd under the circumstances – and no reason to rule them out altogether.

Q – by which I mean the individual who tangled with Captains Picard, Sisko, and Janeway – loved to tease and toy with humanity, but he always seemed to do so with purpose. Presenting humans with a puzzle to figure out wasn’t solely for Q’s amusement – he and the Q Continuum saw potential in humanity and in their own way sought to push us in a particular direction. Perhaps the DMA is another Q puzzle – and figuring it out will lead to some profound moment for Captain Burnham and the entire Federation.

Suspect #12:
V’Ger

An away team from the USS Enterprise at the heart of V’Ger.

First encountered in The Motion Picture, V’Ger was a being of immense power – unparalleled at the time, and far beyond the scope of many civilisations. Much like the DMA, V’Ger was also massive in size, weighing in at a whopping 2AU – double the distance from the Earth to the Sun.

After its encounter with Admiral Kirk, Captain Decker, and Ilia, V’Ger evolved and disappeared – but at the end of the film, Captain Kirk very prominently chose to list Decker and Ilia not as “killed in action,” but simply as “missing,” hammering home the point that we don’t really know what became of them – nor of V’Ger itself.

The Motion Picture is one of my favourite Star Trek films for its deliberately slower pace and more ethereal storyline. The return of V’Ger after almost a millennium would be fascinating – where might it have gone, and what could it have learned in all those years? What were the outcomes of its merging with Decker and its evolution? These questions were left open as the credits rolled on The Motion Picture… maybe we’re about to get some answers.

Suspect #13:
Section 31

A black Section 31 badge in the mid-23rd Century.

Section 31 is the off-the-books division of Starfleet Intelligence, a powerful but hidden faction that we’ve seen do some very questionable and even evil things on occasion. Section 31’s technology has always been depicted as being streets ahead of Starfleet’s – they got combadges in the 23rd Century, for example, decades before those communicators would be available to the rest of Starfleet.

A return to Section 31 would connect Season 4 back to the events of Season 2, which featured the shadowy organisation prominently in its storyline. Section 31 seems more than capable of creating something like the DMA – but at the moment we don’t know what motive they would have. If it was intended as a weapon, why target friendly worlds?

Perhaps the DMA is a Section 31 experiment or weapon that has gotten out of control – but this would arguably be too similar to the Control storyline from Season 2. Regardless, Section 31 seems quite capable of creating something like the DMA.

Suspect #14:
Dr Kovich

Dr Kovich in The Examples.

This is directly connected to the theory above, as part of me is still convinced that the mysterious Dr Kovich works for – or is perhaps the head of – Section 31.

Kovich’s presentation in Seasons 3 and 4 of Discovery is rather unusual by Starfleet standards. He seems to be skilled in a number of fields from psychology to intelligence, and we’ve seen him in a variety of different roles. The one thing his positions seem to have in common is power – he’s connected to Admiral Vance right at the head of Starfleet, he’s able to appoint Starfleet Academy instructors of his own accord, he’s seen debriefing powerful people for Starfleet Intelligence… the list goes on.

If Section 31 is involved with the DMA, I would bet money that Dr Kovich is, too. In fact, he isn’t really a suspect on his own unless Section 31 is behind the DMA, so we really have to take these two entries together!

Suspect #15:
The Control AI

Captain Leland became the Control AI’s human avatar.

Control was the main villain during Discovery’s second season. A powerful artificial intelligence, Control coveted the Sphere data that now resides aboard the USS Discovery, believing that merging its programming with the data would allow it to achieve true sentience. It became murderous during its single-minded pursuit of the Sphere data – and is responsible for Captain Burnham and the crew travelling forward in time.

The exact circumstances of Control’s defeat are somewhat muddled, and the Season 2 finale seemed to imply that the death of Leland – who had been “assimilated” by Control’s nanites – crippled or even killed Control. Its servers will have been taken offline by Captain Pike, Ash Tyler, and the survivors of the battle… but could there be a way for Control to have survived?

From a storytelling point of view, there’s something interesting about a narrative that comes full-circle. Defeating Control saved the future – but perhaps its defeat was less final than we might’ve thought. We still don’t really know why Control wanted to exterminate all sentient organic life in the galaxy, either – was there a flaw in its programming, or was there something else going on?

Suspect #16:
Zora

Zora is the USS Discovery’s AI.

Sticking with an AI theme, we first met Zora in the Short Treks episode Calypso. Zora was created by the merging of the Sphere data with the USS Discovery’s computer, and we’ve since had several very interesting moments with Zora making decisions independently.

In the episode There Is A Tide, Zora teamed up with Tilly and the bridge crew to help retake the USS Discovery and defeat the Emerald Chain. But was this as altruistic as it seems – or was it simply the AI’s attempt at self-preservation? The mere pursuit of the Sphere data was enough to send Control into a murderous rampage… and the truth is that Captain Burnham and the rest of Starfleet simply don’t know what the long-term effects will be of the Sphere data’s merger with Discovery’s computer.

In The Examples we learned that Zora has begun to develop emotions – and emotions can lead to instability, especially when brand-new. Look at what happened to Data, for example, when he first received his emotion chip. Or look at Lore and Sutra as examples of AIs with “evil” personalities.

Suspect #17:
A faction from the Temporal Wars

A Na’kuhl, one of the participants in the Temporal Cold War.

Season 3 introduced us to the Temporal Wars, a series of conflicts that wrapped up in the years prior to the Burn. The Temporal Cold War – which seems to be connected – was depicted in Star Trek: Enterprise, with the time-travelling Crewman Daniels enlisting Captain Archer’s help on several occasions.

There have been several references to Enterprise this season, with the familiar musical sting from Archer’s Theme bringing a tear to my eye in the episode Kobayashi Maru. Perhaps these callbacks have, in fact, been teasing something big in the story that lies ahead?

There are several different factions that participated in the Temporal Cold War that we saw in Enterprise, and the Temporal Wars themselves may well have introduced others. Any of these could be implicated in the DMA – it may represent an attempt to weaponise time travel and circumvent the time travel ban.

Suspect #18:
The United Federation of Planets

A group of 32nd Century Starfleet cadets.

I don’t believe for a moment that the Federation would deliberately create the DMA as a super-weapon. Section 31 absolutely would, but not Starfleet. However, the DMA may not be a weapon. One thing Discovery has come back to time and again since Season 3 is the dilithium shortage. The discovery of the Verubin Nebula may provide a short-to-medium term fix, but eventually the galaxy is once again going to run out of dilithium; it’s a finite resource.

In addition to the SB-19 project that we heard about in the episode Unification III, we’ve heard of several other Federation experiments to create alternatives to warp drive – some of which are still ongoing as of Season 4. The DMA appears to have some kind of connection to wormholes, as it was able to disappear and reappear more than a thousand light-years away in an instant. What if the DMA is an out-of-control experiment?

If this is the case, we’d expect someone to realise what was happening sooner rather than later. But it would be a very interesting story indeed if the DMA was the Federation’s responsibility – even if they didn’t intend to unleash it.

Suspect #19:
President Laira Rillak

President Rillak in the episode Choose To Live.

President Rillak is a wonderfully complex character who’s made a fine addition to Discovery. She’s also the kind of hard-nosed politician whose schemes border on the Machiavellian. Despite a recent détente with Captain Burnham, be under no illusions: President Rillak will happily throw Burnham and the USS Discovery under the bus if she believes doing so will suit her purposes.

A leader like that might very well sanction a dangerous experiment if she believed doing so would be to the Federation’s advantage. Maybe the DMA was intended to be a defensive weapon, maybe it was intended to destroy a threat to the Federation’s very existence, or maybe it was an attempt to travel faster-than-light without dilithium. Regardless, if such an experiment got out of control, you can bet your boots that President Rillak would try to cover it up.

If we think even more cynically – like a Covid-denying, flat-earther conspiracy theorist – maybe President Rillak ordered the creation of the DMA on purpose. Re-unifying the Federation is her main goal, and one way that people are known to come together is in the face of imminent danger. By unleashing the DMA onto the galaxy, perhaps President Rillak sought to bring ex-Federation members back into the fold. If so, it’s already paying dividends for her.

Suspect #20:
Ruon Tarka (and Paul Stamets)

Tarka and Stamets with their DMA model.

In the episode The Examples, Tarka and Stamets constructed a scale model of the DMA for research purposes – and according to Reno, came very close to destroying the entire ship. If they continue these experiments, perhaps they’ll end up creating the DMA by accident.

In order for this story to come to pass, we’d have to go down the dreaded time-loop route – and personally I really don’t like time-loop paradox stories! So I have to admit that I’m not too keen on this one… but that doesn’t mean it isn’t a possibility!

Because we know that the DMA has some kind of impact on spacetime, as well as potentially containing a wormhole, the prospect of time travel arises. It doesn’t seem impossible, based on what we know at this stage, for the DMA to travel backwards through time, perhaps emerging months in the past – kicking off the events that would lead to its own creation. It would be a complicated story, and one that would be difficult to get right, but we’ve seen Discovery tackle time travel on multiple occasions already.

Suspect #21:
Admiral Picard and the crew of La Sirena

Admiral Picard and his new crew in Picard Season 1.

Star Trek: Picard Season 2 is going to have a major time travel element to its storyline, with Picard and his new crew seemingly intent on chasing Q back to the 21st Century. If there’s one thing you can rely on in Star Trek it’s this: time travel seldom goes according to plan!

Admiral Picard would never willingly unleash something like the DMA… unless he had no choice. But if it was an unintended consequence of time travel gone wrong, maybe it’s possible that he and the crew of La Sirena are responsible. Perhaps Captain Burnham and the USS Discovery will break through to the centre of the DMA to find La Sirena sitting there.

If Picard Season 2 unfolds as its trailers suggest, the Admiral and crew will travel back in time to the 21st Century in order to “save the future” from whatever’s gone wrong to damage the timeline. But after their adventures in 21st Century Los Angeles they’ll have to get home – and it’s the return trip that could go awry, somehow sending the DMA – and perhaps them along with it – into the 32nd Century. A long-shot? Maybe. But it would be so interesting to see a proper crossover between Picard and Discovery.

Suspect #22:
Captain Michael Burnham

Captain Burnham in the episode Anomaly.

Captain Burnham has done nothing wrong, and there’s nothing at all in the story to suggest she would intentionally or unintentionally unleash something like the DMA upon the galaxy. But this is Star Trek: Discovery – so there’s always a chance that the show will put Captain Burnham at the centre of its main story!

The only way to really pull this off without dragging Captain Burnham’s character through the mud would be to have the responsibility lie with a parallel universe version of her, or perhaps some kind of evil clone. I don’t necessarily consider these to be likely, but with Discovery and Burnham, I don’t think we can entirely rule it out, either.

From a narrative perspective, having Burnham being in any way responsible for the DMA would have significant implications for practically all of the main characters – especially Book, whose homeworld was destroyed in the episode Kobayashi Maru. Would he hold her responsible, even if the blame lay with someone from an alternate reality?

Suspect #23:
The Red Angel suit

Michael Burnham in her Red Angel suit.

The Red Angel suits were powerful time-travel machines created in Season 2. The first Red Angel suit took Dr Gabrielle Burnham to the 32nd Century, and from there she used it to make numerous interventions back in time, trying to thwart Control. The second suit was built by the crew of the USS Discovery and used by Captain Burnham to lead the ship into the future.

One of the key similarities – at least on the surface – between the Red Angel suits and the DMA is the presence of something akin to a wormhole. The DMA – according to Stamets and Ruon Tarka, anyway – may contain a synthetic wormhole of some kind, and what did the Red Angel suit create at the end of Season 2? A time-wormhole.

For a 23rd Century device, the Red Angel suit was incredibly powerful, capable of dragging an entire starship in its wake. With some modifications, perhaps, or increased power, who knows what it might be capable of? This would be a way to connect the DMA to Captain Burnham without making the damage it’s caused her fault.

Suspect #24:
Independent Earth

The USS Discovery in orbit over Earth in Season 3.

Season 3 took the crew back to Earth – but the planet was not how they expected to find it! In the aftermath of the Burn, Earth had withdrawn from the Federation and was pursuing a policy of aggressive isolationism. Though Saru, Burnham, and the rest of the crew were able to help patch up relations between Earth and a human colony on Titan (which was referenced in the Season 4 episode All Is Possible) there was no indication that Earth was willing to abandon its independent status.

The Season 3 epilogue told us that Trill had rejoined the Federation, and in Season 4 we’ve also seen Ni’Var come back into the fold. But there hasn’t been any mention of Earth – as far as we know at this stage, its self-imposed isolation from the wider galaxy continues.

It’s possible that the leaders of Earth might’ve built a super-weapon for defensive purposes, but equally they could’ve been experimenting with faster-than-light travel or power generation, and the DMA is an experiment that got out of control. There could be an interesting allegory if Earth were to be identified as the culprits, leading to a story about the dangers of such an isolationist policy and trying to go it alone.

Suspect #25:
It’s alive!

Frankenstein (1931)

“They were only trying to communicate!” has become a Star Trek trope at this point, often used to describe how the seemingly-aggressive actions of an alien or entity were not intended maliciously. Perhaps the DMA, despite seeming to be artificial, is in fact a life-form in its own right.

We talked about V’Ger a moment ago, and the DMA could be something similar. Perhaps it was once an artificial construct, but has since become sentient. It may not have intended to cause harm or damage, but was simply exploring or even trying to make contact with the Federation.

This would be an inversion of the story we’re currently expecting. Instead of having a villainous enemy to defeat, Captain Burnham and the crew would instead make first contact with a very different life-form. Perhaps the DMA needs help, and despite the destruction of Kwejian and all the other damage it’s done, the crew would have to step up and offer assistance. There are many, many ways to make an interesting story out of this premise!

Suspect #26:
Someone entirely new

Who could it be?!

It could well be the case that, despite all of the callbacks and teases from past iterations of Star Trek, Discovery will introduce us to someone brand-new. This was the storytelling route taken by Season 3 with the Burn, and also in Picard Season 1 with the introduction of the super-synths. In both cases, a mystery that could have led us to a familiar faction ended up introducing us to someone entirely new.

As mentioned in the introduction, a big part of me feels that this is the way Season 4 will go. Any such faction or individual would naturally be impossible to predict – just like it would’ve been impossible to predict Su’Kal’s involvement with the Burn right up until his introduction near the end of Season 3.

Having had so many references and callbacks to past iterations of the franchise, and with Discovery practically begging us to theorise and speculate about the DMA and Unknown Species 10-C, it might end up feeling a tad anticlimactic if we once again get someone brand-new that we couldn’t have anticipated. But we’ll have to wait and see, and try to keep a lid on the disappointment if the series ultimately ends up here.

So that’s it.

A scale model of the DMA.

We’ve listed a whopping twenty-five possible suspects – and maybe you can think of more! Who would be the weirdest, most left-field culprit that you could think of? Ensign Mariner from Lower Decks, perhaps? Or how about Grudge the kitty cat?

The DMA and Unknown Species 10-C have piqued my curiosity right now, and I truly can’t wait for Friday’s episode to see what other clues we might get. In a way I hope I haven’t guessed the culprit already so that Discovery can continue to take me on a wild and unpredictable ride! Season 4 has been great so far, and its central mystery has proven truly interesting. Hopefully the resolution to the story will do justice to an engaging mystery that has been carefully crafted and beautifully set up.

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.

Star Trek: Discovery review – Season 4, Episode 5: The Examples

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.

The Examples was a stunningly good episode. When the season draws to a close, no matter how key storylines are ultimately paid off, we’ll look back and say this was one of the highlights. This week we got three stories rolled into one, all connected to the DMA in different ways, and we also got the introduction of a wonderfully complex new scientist character played by Shawn Doyle.

Before we go any further, I want to continue to call out the corporate nonsense from ViacomCBS that has prevented Star Trek fans from outside of Europe and North America from being able to watch Star Trek: Discovery. ViacomCBS seems to have no interest in Africa, Asia, or even countries and territories like Ireland or Puerto Rico, and the rollout of Paramount+, which continues at what we might generously call a snail’s pace, means nothing to millions of Trekkies all over the world. Discovery has become one of the most-pirated shows in recent weeks – something that’s entirely the fault of ViacomCBS and their decision to pull the show from Netflix.

The USS Discovery’s main viewscreen as the DMA approaches.

Let’s set that aside for now and talk about The Examples. We’ll begin with the smaller storyline present in the episode: that of Dr Culber and his emotional struggles. For me, these sequences with Dr Culber – and especially his conversations with Stamets – formed the episode’s real emotional heart. There was a moment toward the end between Captain Burnham and a prisoner named Felix that was also emotional, but we’ve known Dr Culber and followed his story for more than three seasons, so I think it’s natural to feel that this was the one that brought the most emotional weight.

I’m increasingly convinced that Discovery’s main characters each embody a different response to grief and trauma. In Tilly’s case, which we saw come to a head last week, she chose to leave the past behind and strike out on her own. In the case of Stamets we see the workaholic, someone willing to set aside much of his personal life and family commitments and throw himself into his work. The same kind of applies to Captain Burnham, though she also embodies the “protective partner” through her relationship with Book. Book, of course, has shown us the depths of depression and grief. And with Dr Culber we have someone who’s dedicated himself to helping others – even if that comes at his own expense.

Dr Culber and Stamets in their quarters.

The scenes between Stamets and Culber were a complete inversion of what I’d been expecting – and I loved every second of it. After Stamets missed Gray’s incorporation and wasn’t there for Adira in Choose To Live, I’d been expecting Dr Culber to be the one to call him out for overworking himself, telling him he missed something important with his family – and with his friend, as he wasn’t really there for Tilly before she left the ship. But instead we got the reverse of that: it was Stamets who had to tell Dr Culber that he’s been the one overworking himself for the sake of the crew.

This moment was absolutely perfect, and I felt it really drove home just how these two came to fall in love in the first place. Stamets and Culber have been Discovery’s emotional core since the show’s first season, but this was the first time we got this level of insight into what brought them together – and what has kept them together even through all the sci-fi adventures they’ve been on.

Stamets and Culber gave the episode heart and emotion.

Kovich – or should that be Doctor Kovich? – continues to confound me. Who is this mysterious man? We’ve seen him seemingly working for Starfleet Intelligence in some capacity, working alongside Admiral Vance at or near the top of the organisation, playing a leading role in Starfleet Academy – including being able to appoint teachers simply on his say-so – and now, in The Examples, he appeared to be acting as a counsellor, therapist, and even psychologist for Dr Culber. I wonder if Discovery plans to nail down Kovich at some point in the future – or if he’ll continue to be used in a variety of roles like this, allowing the lack of a clear explanation or background to provide him with an air of mystery and gravitas. It’s hard to deny that it’s working!

Kovich certainly laid some harsh truths on Dr Culber during their very short session together. And I liked that it came back to what happened to him in Season 2; Dr Culber went through an almost unimaginable experience, one that’s bound to leave emotional wounds. Past iterations of Star Trek were pretty bad at following up with characters who went through what should’ve been traumatic events, so it’s cathartic in a sense to see that the franchise is using its serialised format to right that old wrong.

Kovich offered Dr Culber counselling… of a sort.

Some of the goings-on at the prison felt a little rushed and a little forced. After discovering the existence of the prisoners and finding out that they weren’t scheduled to be rescued, Captain Burnham and the crew seem to have made no efforts to follow that up. Could they, for example, have located the prison guards who were said to have fled? Or sought out someone else capable of opening the prison? I know it’s a bit nit-picky, but going there in person feels like it should’ve been a last resort.

There was definitely an interesting element to the prison stand-off, though, once we got into the meat of this side of the story. I said last week that Captain Burnham has a “moral certainty” to her; she knows what is the right thing to do. This time she came upon two challenges to that morality – and I think in the way she responded to those challenges, we can see how much she’s grown as a character over the past three-plus seasons.

Captain Burnham faced a very difficult choice this week.

Captain Burnham wanted to rescue all of the prisoners. She wanted to do so not only for Book’s sake, as he’d been suffering ever since the destruction of his homeworld, but also because she truly believed in her heart that it was the objectively moral thing to do. The prisoners immediately challenged that, with several of them expressing the desire to be left to die rather than return to confinement. There was a bit of a cliché as we were told that one of the prisoners had “stolen food to feed his family,” but other than that this side of the story felt complex and nuanced.

We also got a glimpse at the kind of clashing of cultures that happens out here in the real world. The Akaali – a race that first appeared in Enterprise – have a very different culture to the Federation, perhaps influenced in part by the Emerald Chain. In this case, their ideas of justice, punishment, and imprisonment seem draconian by Federation standards – and Captain Burnham had to deal with that culture shock.

The Akaali magistrate.

Felix was the most complex of the prisoners, a man who’d killed someone decades earlier and had lived with that regret ever since. Guest star Michael Greyeyes put in a stellar performance as someone not merely resigned to their fate, but actively choosing to embrace it. Felix seemed to truly believe that his punishment or penance for his crime required his own death, and had he survived if the DMA had taken a different path, I believe he would have sought out the Akaali authorities and turned himself in all over again.

His choice was difficult for Book and Burnham, though, who had endeavoured to save all six prisoners. Book appeared to be ready to intervene, saving Felix’s life even if it went against his wishes, but Captain Burnham eventually understood that this was something she had to do. After all the talk earlier in the season about the Kobayashi Maru test and no-win scenarios, here we got to see Captain Burnham confronted with her own small-scale version of that very challenge. She rose to meet it in a way that she would have struggled to in earlier stories.

Leaving Felix behind was a kind of Kobayashi Maru moment for Captain Burnham.

There are many different ways we could read Felix’s story in The Examples. There’s definitely an allegory for imprisonment itself; that prison can have value as a rehabilitative institution. But we can also read Felix’s final choice through a more metaphorical and philosophical lens: it’s a tale about the value of freedom, and the freedom to choose one’s own path and ultimate fate. It’s a story about agency and the right to determine the outcome of one’s own life. Felix could have been “saved,” but doing so would have cost him his freedom in a different way.

This story took what could have been a fairly simple and uninspired plot about rescuing prisoners in a different and unexpected direction, providing some much-needed complexity to Captain Burnham’s side of the episode. It also gave both her and Book an emotional moment toward the end of the episode, with Book in particular believing the decision to leave Felix behind was wrong. And as the audience, we can see both sides of this argument and acknowledge that there’s no objectively right answer. On the one hand, if Felix had been saved he could have found other ways to have meaning in his life or to complete his penance and rehabilitate himself. Giving him that chance, even if it was against his will in that moment, could have paid dividends later. On the other hand, though, Felix was a grown adult of seemingly sound mind, and if this was the choice he freely made, knowing the consequences, does anyone have the right to interfere? It’s a complex story with no easy answer – and this could be a whole essay in itself drawing comparisons with things like the right-to-die movement, suicide, and many more.

Felix made his own decision.

Sonequa Martin-Green played Captain Burnham with real complexity this week, and her performance nailed Burnham’s real struggle with this decision. As recently as the season premiere, Burnham had said to President Rillak that she wasn’t ever willing to leave anyone behind or make this kind of choice; a variation on Captain Kirk’s famous “I don’t believe in no-win scenarios” stance. But something’s changed for Burnham – perhaps the existence of the DMA, or simply the realities of command. This evolution allows her to remain true to herself – she still wants to do the right thing. She just seems willing to consider different perspectives on what is “right,” including those that fall outside of her own interpretation.

So let’s take a look at the biggest revelation in The Examples: the DMA is an artificial creation. This is something I’d been theorising about in one form or another since we first learned of the existence of the anomaly in the first Season 4 teaser trailer earlier in the year, and I don’t think many fans or viewers will have been terribly shocked. A natural disaster angle could’ve worked well for the DMA, presenting Captain Burnham and the crew with a scientific challenge to untangle rather than a villainous adversary to defeat. But that ship has sailed – and really, this is the way I think we all expected Discovery to go with the DMA.

Tarka and Stamets created a scale model of the DMA.

Though this story was great overall, there was one part at the beginning that felt very rushed. After Stamets noticed the DMA disappearing and reappearing, Captain Burnham asked Zora (the ship’s AI) if the DMA could be a natural ocurrence. Zora replied that it couldn’t be, and based seemingly on these two lines alone, the rest of the plot was left to unfold. It just feels far too quick and easy to have gotten a one-line answer from Zora about the nature of the DMA, and I feel it would’ve been nicer to see at least some of the workings that led to that conclusion – perhaps Stamets could’ve said he’d come up with an artificial DMA as a new theory after weeks of work; same result, same short scene, but perhaps a better overall feeling that this wasn’t all based on one very brief analysis.

This second point is really more of a nitpick, but here we go anyway: how did everyone in the galaxy find out that the DMA isn’t a natural phenomenon? If Stamets is leading the charge on this investigation, and he only figured it out with the help of Zora… how did that news get out? Starfleet might’ve wanted to keep a lid on something so explosive, and I can absolutely see someone like President Rillak wanting to keep that news on a need-to-know basis to prevent panic and possible political consequences for the very tenuously-united Federation. Maybe we can excuse it by saying the DMA’s disappearance and reappearance led others to figure it out independently, but again this all happened very quickly at the beginning of the episode. It’s a nitpick, though.

Kaminar – and other worlds – already know that the DMA is artificial.

There were references to past iterations of Star Trek – as well as the video game Star Trek Online – on this side of The Examples. Admiral Vance listed the Metrons, who first appeared in The Original Series episode Arena, the Nacene, who constructed the Caretaker’s Array that pulled the USS Voyager into the Delta Quadrant, and the Iconian Empire, who were believed to be extinct during the events of The Next Generation but ultimately appeared in the aforementioned Star Trek Online.

However, at the end of the episode, Ruon Tarka explicitly ruled out all three of these races as being the culprit. So who is Species 10-C? And perhaps a bigger question is this: will the DMA connect back to a past iteration of Star Trek, or will the storyline follow a similar route to the Burn in Season 3 and ultimately turn out to be something altogether new? Part of me wants to say that we wouldn’t have had all of these teases if there wasn’t going to be some big connection and a big reveal that would be meaningful for us as the audience – the Borg, the super-synths from Picard, or something of that nature. But another big part of me is saying “remember the Burn!” and feels certain that we’re going to encounter someone entirely new.

Admiral Vance has a list of possible culprits… but Ruon Tarka dismissed them.

We’ll save the theorising for later, though, because this side of the episode had far more going on than just that! Shawn Doyle arrived as Ruon Tarka, and he played the arrogant scientist exceptionally well. Tarka is a strangely relatable character – I think a lot of us have known someone who’s so incredibly self-assured and who comes across as very rude and even selfish. Tarka, to my surprise I must admit, backed up his arrogance with genuine skill, and by the end of the episode even Stamets seemed to have warmed up to him!

There’s always going to be the temptation to have a character introduced in this fashion ultimately be proven wrong and get some kind of comeuppance, but what makes Tarka such an interesting and nuanced character is that he really did have the scientific skill and know-how to back up what he was saying; all the trash-talking with Stamets actually led somewhere. We can dislike Tarka for his abrasiveness and the way he was rude with Stamets and Saru, but at the end of the day I’m still left with a strong sense that, arrogant or not, he’s someone I want on my side – especially given the nature of the DMA. Pulling off that balance with a brand-new character isn’t going to be easy to get right, yet Discovery pulled it off thanks to a wonderful guest star.

Ruon Tarka made for a wonderfully complex character.

It was very sweet to get multiple mentions of Aurellio this week. Kenneth Mitchell played the character in Season 3, and even though he wasn’t able to appear in person on this occasion, the fact that Discovery went out of its way to reference the character more than once was incredibly sweet. It’s nice to know that Aurellio still exists in the 32nd Century, and that he’s teamed up with the Federation to help solve the mystery of the DMA. Again, I feel better knowing Aurellio is working on this problem too!

The idea that Stamets and Tarka came up with, to create essentially a scaled-down version of the DMA, was a good one, and it worked well on this side of the story. We got to see the two scientists truly working on the problem, tweaking their theories as they went along. This is the scientific method – having a crazy idea and testing it out! Other sci-fi shows would’ve skipped this step and just brought us the conclusion so we could get into more space battles and laser fights, but one thing I’ve always liked about Star Trek is seeing the characters slow down and take their time working on a problem. Neither Stamets nor Tarka could figure out the DMA instantly – and we’ve seen Stamets working on this problem across several episodes now. They seemed to be close to a breakthrough before the experiment had to be shut down – so perhaps a future episode will pick up that dangling story thread.

Stamets, Tarka, and Saru examine their model of the DMA.

Though she didn’t have many lines, it was great to welcome back Tig Notaro as Reno during this story. Her dry wit cut through what was a very heavy scientific story, and provided some moments of levity that were definitely appreciated. Due to the difficulties of travelling and filming during the pandemic, I already know we aren’t going to get as many Reno appearances as we might want – so it was great to see her on this occasion, and I will definitely savour those light-hearted moments that she brought.

Saru played a guiding role here, ultimately shutting the experiment down as it got too close to the danger zone. But he brought a sense of calmness to the proceedings, something necessary given the hot-headedness of Tarka and Stamets. Seeing him “roar” was definitely something a bit weird… but it was neat nevertheless! Saru was very much back in his element as the senior officer on this side of the story, taking command of the situation but deferring to the scientists as much as possible. Since he underwent the vahar’ai transformation in Season 2, we’ve seen this calmer presentation of Saru. I’ve said this before no doubt, especially during his tenure as captain in Season 3, but he makes for an excellent commander – someone kind of in the mould of Picard as a considerate, level-headed leader.

Saru and Tarka having a stand-off!

So that was The Examples. We’re one step closer to figuring out the DMA thanks to Tarka and Stamets’ dangerous experiment – and I hope to see further progress on that storyline soon! The suspense, not knowing who’s responsible for the DMA or what their goal might be is really pulling me in right now – I desperately want the answers to those huge questions!

Some scattered final thoughts: the USS Janeway was a neat callback to Voyager. We’ve had several references to both Enterprise and Voyager so far this season – could either of those be a tease or indication of the direction of the story? The DMA makes an interesting climate change analogy – something ever-present that our heroes all have to work together to overcome. The episode opened by reminding us that Tilly has gone, and Mary Wiseman is no longer credited in the opening credits – so I think her departure from the series is permanent. I had a horrible feeling that something was going to happen to Rhys as he took a leading role in the evacuation… but luckily he lives to fight another day!

I had a fantastic time with The Examples. It advanced the season’s main story in a huge and very significant way, introduced us to a new scientist character who was a ton of fun, and gave us some cathartic emotional moments with Captain Burnham, Book, Dr Culber, and Stamets. All in all, a truly outstanding episode. I’m tearing my hair out trying to figure out who Species 10-C might be – so stay tuned for my next batch of theories for more on that!

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.

Halo Infinite: first impressions

Spoiler Warning: There are minor spoilers ahead for Halo Infinite, Halo: The Master Chief Collection, and other iterations of the Halo franchise.

After the longest gap in between games since the franchise began, Halo Infinite was finally released last week. I haven’t yet completed the campaign, but I’ve spent a couple of hours with the game so far – enough time to give you my first impressions and initial thoughts about Halo Infinite.

First up, make sure you choose the right version when you go to download it! I have Game Pass for PC, and on the homepage of the Xbox app there was a big Halo Infinite icon, so I clicked it and it began to download – taking hours on my painfully slow internet connection. When it was done I booted up the game… only to find I couldn’t play the campaign, just the multiplayer! The campaign is a separate download, so I had to wait another few hours for that. Not the best start – and this should really be made clearer on the Xbox app.

Promo art for Halo Infinite.

When I was able to load the campaign, I immediately encountered an issue with the audio. I usually play games with headphones on, but although my headphones were plugged in there was no audio. After some investigating, the only way I could find to fix it came from someone else who’d had a similar problem and shared their solution on a forum – I had to go into my PC’s sound settings and change my headphone settings. Something uncomplicated but stupidly obscure; how this person figured it out I’ve no idea! It worked fine after that – but again, Halo Infinite made a poor first impression as a result.

The game opens with a cut-scene showing the Master Chief being thrown into space by an alien monster – the leader of a villainous faction called the Banished. This villain, and a couple of other Banished leaders who we’re also introduced to in cut-scenes across the game’s opening act, all feel quite generic. The vocal performances were hammy and over-the-top, and I don’t really get the impression that the leaders of the Banished are anything other than “evil for the sake of it” kind of villains. By default this makes the game less compelling and less interesting!

The game opens with Master Chief getting beaten up by this guy.

I haven’t played Halo 5; it wasn’t included as part of The Master Chief Collection when that was released on PC a couple of years ago, and it hasn’t been released as a standalone title. But the pre-release marketing and chatter about Halo Infinite seemed to indicate that the game was some kind of soft renewal of the franchise and would be a good jumping-on point for players unfamiliar with the world and lore of the Halo series – a series which, lest we forget, has recently passed its twentieth anniversary. Based on my first couple of hours with the game, I have to disagree with that.

Halo Infinite feels like an unapologetic sequel. We don’t find out why the Master Chief happened to be aboard that starship, and pretty quickly as he retrieves not-Cortana from a nearby Halo ring the game seems to reference events that took place in Halo 5 – something about Cortana going rogue and needing to be deleted. At this point I feel pretty lost with the story, with Master Chief blindly shooting his way through waves of enemies without any readily apparent goal or purpose.

I didn’t play Halo 5 so I feel a bit lost with the story.

I took a decade off from the Halo games after Reach, and it was only when I got The Master Chief Collection on PC that I played the fourth game in the series and the ODST spin-off. So I’m not the world’s biggest Halo fan by any stretch, and maybe big fans of the franchise are having a whale of a time – if so, that’s fantastic. I don’t want to detract from anyone’s enjoyment by being an old sourpuss! But Halo Infinite’s story appears to rely heavily on what came before, so for new fans or for folks who’ve been out of the loop, maybe The Master Chief Collection would be a better way to get started.

I found a couple of very odd graphical bugs during my relatively short time with the game, too. During the second mission, when Master Chief has arrived at the Halo installation, doorways appeared to glitch out: they’d appear to be solid even after “opening” and it was possible to just clip through what looked like a solid, graphically buggy door. Then shortly after, every alien of a particular kind (I think the Elites) were also completely bugged, and they ended up looking all stretched out and just broken. It’s hard to put into words, so see the screenshots below (click or tap the images for a larger version):

All of this kind of added up to mean that the game left a weaker-than-expected first impression. I’d been excited for Halo Infinite; the prospect of a franchise I remember with fondness from the days of the original Xbox getting a soft renewal and a new coat of paint was something I found genuinely appealing. I want to like Halo Infinite – but the somewhat dense backstory, a villain who feels silly at best, and a handful of bugs and glitches that should really have been fixed before launch have definitely got in the way of that.

So that’s the bad stuff out of the way. But my experience with Halo Infinite so far hasn’t been entirely negative by any stretch. There is definitely a good game at its core, one with some truly exciting and fun sci-fi shooting. The guns that I’ve used so far have been varied, ranging from standard rifles and pistols to Halo staples like the Needler. Halo Infinite’s gunplay is fluid, the environments so far have been well-designed, and were it not for those few bugs and issues that I’ve encountered I’d be giving it a ten out of ten for its gameplay.

Halo Infinite has great gunplay.

As a multiplayer player-versus-player online shooter, which is what many folks come to Halo for, I think that bodes well. I can absolutely see it being a game that keeps players hooked well into 2022 and perhaps even beyond that, as there seem to be teases of a lot more multiplayer content to come. And that’s great… for people who like that kind of game. As someone who came to Halo Infinite for its campaign, I feel underwhelmed more than anything else. Halo Infinite’s campaign isn’t exactly bad, it just isn’t as good or well-written as I’d hoped it would be.

So far, in addition to the Master Chief I’ve met two major characters: a pilot and not-Cortana – an AI named “the Weapon.” Both characters seem interesting, and I’m definitely curious to see how their stories progress as the game goes on. The voice and motion-capture performances for both characters have been great so far, with some of the Weapon’s facial expressions in particular being extraordinarily well-animated. The Halo games have come a long way from their 2001 origins in that respect. Were it not for those graphical bugs I encountered, I’d say Halo Infinite makes the franchise look better than ever.

Not-Cortana… a.k.a. the Weapon.

So I guess I need to read a synopsis of Halo 5 or something… get myself caught up with all of the story that I missed (and all the other story that I’ve forgotten about!) Maybe then I’ll have a better time as I progress through the campaign. Halo Infinite has potential, but I guess what I’d say is that I’m glad I picked it up as part of Game Pass; I’d feel far less charitable about its flaws and shortcomings had I paid £55 for it.

If you’re only interested in multiplayer, I think Halo Infinite will be a fine shooter going through 2022. Of this year’s big first-person shooter releases, there’s surely no question that Halo Infinite is the best choice by far. Battlefield 2042 and Call of Duty: Vanguard can’t compete, not by a long-shot. If you’re interested in the campaign, though, I think Halo Infinite isn’t as much of a soft reboot or fresh start as I was expecting – so make sure you’re caught up on what happened in previous games before you jump in.

Promo screenshot.

The bugs are disappointing, but so far they haven’t been so overwhelming that I felt the need to quit the game. Hopefully these issues can be patched out in the days ahead. There don’t seem to be as many reports of similar issues affecting the Xbox One or Xbox Series S/X version of the game, which is positive news for those of you using those platforms.

So that’s it, I guess. An unspectacular start, but not a terrible one. Halo Infinite could certainly do a lot worse, and in a first-person shooter market that increasingly only caters to the multiplayer crowd, it’s nice to see that Microsoft and Xbox are sticking with single-player campaigns. It’s also great that Halo Infinite got a simultaneous release on PC, and a day-one launch on Game Pass. Microsoft has become quite a player-friendly company in that regard, and I have to respect that.

If you already have Game Pass, it’s hard not to recommend Halo Infinite – you might as well give it a shot, at least. And its multiplayer mode is currently free-to-play for everyone, Game Pass subscriber or not. For £55/$60 though, the campaign alone might not be worth it. You’re probably better off signing up for Game Pass just for a month, beating the campaign, and then cancelling your subscription!

Halo Infinite is out now for PC, Xbox One, and Xbox Series S/X. Halo Infinite is also available via Xbox Game Pass and Xbox Game Pass for PC. The Halo series – including Halo Infinite – is the copyright of 343 Industries, Xbox Game Studios, and Microsoft. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery theories – week 4

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4. Spoilers are also present for the following: Star Trek: Picard Season 1, Short Treks, and for other iterations of the Star Trek franchise.

All Is Possible definitely shook up Star Trek: Discovery! It’s an episode which, as things stand anyway, will have major ramifications for the rest of the show’s run thanks to the departure of Lieutenant Tilly. However, with the episode’s trio of stories largely staying away from the DMA (as the gravitational anomaly is now being called) there really aren’t a lot of new theories joining the list on this occasion. The teaser for The Examples has told us that we’re about to see a big return to that storyline, though, and I certainly don’t mind Discovery doing more of these episodic detours!

This week we had one theory that I’m calling semi-confirmed and one theory from way back in Season 3 that’s seen some significant advancement – but that I’m not yet willing to completely strike off the list! We’re also adding two production-side theories to the list for the first time.

Semi-confirmed theory:
Tilly left the USS Discovery.

Tilly is on her way to new adventures.

I’m calling this one semi-confirmed because I speculated about Tilly potentially leaving the ship – but I didn’t guess how soon it would happen or the exact manner of her departure! In the run-up to All Is Possible, my best guess was that whatever was happening with Tilly would rumble on for most of the rest of Season 4, with any potential departure not coming until closer to the end of the season. I certainly didn’t expect to see two “Tilly tries something new” storylines one after the other, and while her departure was very emotional and bittersweet, there was a slight sense that maybe it could’ve been scheduled a little better so we didn’t have both of Tilly’s big Season 4 episodes back-to-back.

I’d previously suggested that Tilly could change departments, resign from Starfleet, or that the character would be killed off by the writers. As it is we kind of got a combination of the first two: Tilly has left the USS Discovery’s science division to move to Federation HQ and teach at Starfleet Academy. She’ll presumably retain her commission as a Starfleet officer even though she isn’t working aboard a starship for the time being.

As I said in my review of All Is Possible, parts of Tilly’s story with the troublesome cadets almost felt like a backdoor pilot for a new series. With a Starfleet Academy show supposedly being worked on, we may not have seen the last of Tilly in Star Trek!

So that theory was semi-confirmed.

Up next we’ve got two production-side (as opposed to in-universe) theories.

Production-side theory #1:
Tilly’s departure will be permanent.

Tilly’s departure feels permanent.

Mary Wiseman confirmed in an interview with Wil Wheaton on The Ready Room (Discovery’s social media aftershow) that Tilly will be seen again before the end of Season 4. But that doesn’t mean she will be a main character on the show going forward, and her departure feels permanent. Despite that, I’ve seen quite a lot of folks online who don’t believe that Tilly is actually leaving the series – so I wanted to put it out there officially and say that, in my opinion anyway, she is.

Maybe those people know something that I don’t! As I always say, I don’t have any “insider information;” all of this is just speculation on my part. However, I feel that the manner of Tilly’s departure, the fact that she got that emotional sequence with Captain Burnham, a montage showing her leaving the ship, Adira seeming to take over several of her roles, and her departure feeling like the culmination of her arc going back to the latter part of Season 3 all come together to strongly indicate that she won’t be back as a major character. She may yet have a significant role to play in a future Season 4 episode, as has been suggested, but unless Discovery’s writers are really playing with our emotions I believe we’ve seen Tilly’s end as a main character on the show. She may, as suggested, be back in a future Starfleet Academy series, though… so watch this space!

Production-side theory #2:
Star Trek: Discovery isn’t going to be renewed for Season 5.

Is a fifth season going to happen?

Since Discovery’s first season in 2017, we’ve known by this point in the season that the show has been renewed. This isn’t one of those “I hate new Star Trek” things that we’ve seen doing the rounds online for years; I adore Discovery and genuinely want to see it continue. But it’s profoundly odd to be basically one-third of the way into Season 4 and to have had no announcement about Season 5. For comparison, Star Trek: Picard has been renewed for Season 3 even though Season 2 won’t air until next year!

I’m hopeful that this is just a blip; a temporary delay for reasons unknown, and that the show has been renewed for Season 5 already behind-the-scenes. However, when we look back at Star Trek productions in recent years, it was often apparent that production work was quietly ongoing even if there hadn’t been any official word from ViacomCBS. As far as we know at this stage, there’s been no pre-production work on Season 5, let alone any filming taking place in the Toronto area.

Once again this is a “watch this space” kind of theory. I hope I’m wrong… but the lack of any news or even any significant rumours about the show’s future is beginning to have me worried.

So those are two theories on the production side of things.

Now we’ll get into the main theory list, beginning with any theories that are new or saw any significant movement in All Is Possible. Then, for the sake of keeping everything in one place, we’ll also recap those theories that didn’t change this week.

Theory #1:
Dr Culber is going to tell Stamets to slow down.

Dr Culber and Stamets in a promo image for The Examples.

Stamets has been almost entirely absent from the past couple of episodes – and in All Is Possible we heard Captain Burnham suggesting that Stamets “won’t slow down,” and is overworking himself as he tries to figure out what’s going on with the DMA. As a result of Stamets dedication to his work, he missed all of Gray’s incorporation in Choose To Live, and we haven’t seen him with Dr Culber, Adira, or Gray since the beginning of the season. He hasn’t even met Gray yet, not properly.

Stamets also didn’t have a chance to speak to Tilly before she left the ship, though he was briefly seen as she departed for Starfleet Academy. In the past, we’ve seen Dr Culber gently remind Stamets that he has other priorities aside from his work, and I’m beginning to wonder if the show is setting up the pair for something similar. I hope we don’t go back to the Season 2 conflict, because that genuinely did not work, but Stamets may need some kind of intervention from the man he loves, pointing out what he’s been missing while he’s been wrapped up in his work.

Theory #2:
President Rillak knows what the DMA is and may be responsible for its creation.

President Rillak in Kobayashi Maru.

All Is Possible continued a trend that we’ve seen across the opening episodes of Season 4, showing us that President Rillak is a cunning, almost Machiavellian politician, willing to do anything to advance what she considers to be the best interests of the Federation. By bringing Burnham and Saru along to the Ni’Var negotiations she hoped to find a solution to a diplomatic impasse she knew was coming – and she succeeded.

As I said in my review, I believe Captain Burnham needs to be very careful with President Rillak. During the events of All Is Possible, working with Captain Burnham was advantageous to the Federation’s president – but I have no doubt that she’d throw Burnham and the USS Discovery under the bus without so much as blinking if she believed it would be to her advantage. Which brings us to the DMA.

President Rillak with Captain Burnham.

President Rillak might know more about the DMA than she’s currently letting on. If the Federation had created a weapon like this, or it was an experiment gone wrong, covering it up might be her objective even if she wasn’t necessarily the one who ordered the DMA’s creation. President Rillak herself 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.

We’ll consider in a moment a few other possible candidates for creating the DMA – if it turns out to be an artificial creation. But the Federation – and by extension, President Rillak – have to be possible contenders too. Season 3 of Discovery showed us the Federation at its weakest, but also arguably as an organisation that was still virtuous at its core. In contrast, we have Season 2’s depiction of Starfleet: reliant on the shady Section 31 and their AI. In short, it wouldn’t be unthinkable for Discovery to go back to that kind of presentation.

Theory #3:
Kovich is an agent (or the head) of Section 31.

Kovich in All Is Possible.

This is the theory that’s hanging on by a thread right now! Ever since we met the mysterious Kovich in Season 3, I’ve felt sure that there was something going on with him. His mannerisms, the way he seemed to know more than he was willing to share, and particularly the way he dealt with Empress Georgiou all contributed to that. I began to suspect that he could be an agent – or even the head – of Section 31, the shadowy off-the-books intelligence division that has done some very dubious things!

All Is Possible showed us a different presentation of Kovich. Referred to as Doctor Kovich for the first time, he seems to be playing a senior role in the running of Starfleet Academy. That doesn’t necessarily preclude him working for Section 31, but it is the most significant move away from this theory that we’ve seen so far.

Kovich in Season 3.

It may yet be revealed that Dr Kovich played a role in Tilly’s away mission going so badly wrong, but I suspect if that had been going to happen we’d have seen it in All Is Possible. David Cronenberg plays the character very stoically, which I think adds to that mysterious sense that has been present since Season 3. In All Is Possible, that contributed somewhat to the sense that he may have known what was going to happen.

If it turns out that the Federation and/or President Rillak are involved somehow with the DMA, maybe Dr Kovich is aware of what’s going on. If he’s involved with Section 31, it may turn out that the organisation has important information about the DMA or even knows how to prevent it from doing any more harm.

So those theories were new or saw movement this week.

Now, as always, we’ll recap all of my other Discovery Season 4 theories. I find it helps to keep the full list in one place; it makes it easier to strike off theories when they’ve been debunked or confirmed, and it means nothing gets forgotten about or left behind! At least, that’s the plan!

Theory #4:
The Guardian of Forever will be back.

The Guardian of Forever first appeared in The Original Series.

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 DMA 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 #5:
Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.

The USS Voyager traversed the Delta Quadrant.

Season 4 touched briefly on the Burn with Su’Kal and Saru in Kobayashi Maru, and may now seek to put last season’s story to bed so it can wrangle with the DMA instead. 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. To see a full write-up of this theory, click or tap here.

Theory #6:
Captain Burnham and the crew will encounter the Klingons.

General Martok, a 24th Century Klingon leader.

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 #7:
The crew will have to defend the Verubin Nebula.

The dilithium planet is vital to the Federation.

The Federation is still in a weakened state, 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.

Another view of the planet in the Verubin Nebula.

Season 4 has presented Captain Burnham and the crew with a scientific puzzle: the DMA. 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 #8:
The story will connect with the Short Treks episode Calypso.

Craft, the protagonist of 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 #9:
The ban on time travel will be explained in more detail.

The USS Enterprise was able to travel back in time to the 20th Century from the 23rd without too much difficulty.

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 #10:
The Federation has flouted the ban on time travel.

President Rillak may have tried to circumvent the ban if she felt doing so would be in the Federation’s interest.

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 might have. President Rillak could also be involved.

Obviously the bulk of the season’s story will deal with the DMA. 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 #11:
Burnham won’t stay in the captain’s chair.

Captain Burnham in All Is Possible.

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 #12:
There will be a character crossover from a past iteration of Star Trek.

Spock has appeared in several different Star Trek productions.

This theory returns from Season 3, where I doggedly clung to it for the entire season!

Discovery’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!

Riker has appeared in more Star Trek spin-offs than any other character.

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 #13:
A major character will be killed.

A Starfleet coffin 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.

Spock’s funeral 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. Though we’ve already had one departure this season – that of Lieutenant Tilly – I still believe that Discovery could very easily go down this road, especially considering how dangerous the DMA currently is.

For a breakdown of which characters I thought might be in danger before the season premiered, check out my list of “death predictions” by clicking or tapping here.

Theory #14:
The DMA is a superweapon.

One view of the DMA.

We touched on this theory above when we considered the Federation’s possible complicity in the creation of the DMA, but there are many other ways such a story could pan out. The DMA’s unpredictable nature, as noted by Tilly and Saru at the end of Anomaly, could imply that there’s an intelligence at work dictating its moves. This could be the DMA itself if it’s sentient (or contains a sentient life-form) but it could also be the case that it’s 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 #14a:
The Borg are responsible.

The Borg Queen.

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, few other established factions seem capable of creating a weapon on the scale of the DMA. 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 #14b:
The super-synths from Picard Season 1 are responsible.

Some very menacing-looking synthetic tentacles.

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. Finally, Discovery Season 4 has already made connections with Picard Season 1: the Qowat Milat and the synth transfer process used for Gray.

Theory #14c:
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 and travel time involved, the timelines kind of line up for the Kelvan Empire to return to the Milky Way.

Theory #14d:
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 DMA 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.

Theory #15:
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 in the episode Anomaly. 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?

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. This could also set the stage for his departure from the show, or possibly even for a new show following his adventures aboard his new ship.

Theory #16:
The DMA is (or contains) a sentient life-form.

Another view of the DMA.

“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. Maybe the same is true of the DMA: 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 DMA, 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 #17:
Book will find Kyheem and Leto inside the DMA.

Leto as seen in Book’s memory.

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 almost eighty years earlier. We don’t know what the DMA 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 DMA 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 #18:
Captain Burnham and/or the Red Angel time travel suits from Season 2 are connected to the DMA.

We don’t really know what happened to the Red Angel suit after this moment.

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 happened to Kwejian?

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 DMA. If the Red Angel suit completed its journey back to the 23rd Century, the anomaly may have had centuries to grow and expand unchecked. 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 #19:
We haven’t seen the last of the Abronians.

I currently have four ideas for different ways that the Abronians – the non-humanoid race that Captain Burnham, Tilly, and the Qowat Milat helped save from cryo-sleep in the episode Choose To Live – could play a further role in Season 4.

Theory #19a:
The Abronians’ homeworld was destroyed by the DMA.

Captain Burnham believes this image depicts a “supernova.”

After arriving at the Abronians’ cryo-ship, Captain Burnham found a stone carving that seemed to depict the destruction of the Abronians’ homeworld. This carving was only shown on screen briefly, but it seemed to show the planet being damaged or destroyed in a large explosion. Burnham credited the planet’s destruction to a “supernova,” and the story then raced ahead.

Considering that the main thrust of the season so far has been about the DMA, perhaps Burnham was incorrect: the Abronian homeworld was destroyed by the anomaly, not a supernova.

Theory #19b:
The Abronians’ homeworld was on the “other side” of the DMA.

The USS Discovery approaches the DMA.

One clip in the second Season 4 trailer appeared to show Captain Burnham leading the USS Discovery inside the DMA. We don’t yet know what that means, nor to what extent words like “inside” the anomaly or “the other side” of the anomaly are even coherent concepts. But many times in past iterations of Star Trek we’ve seen things like wormholes and gateways to parallel universes. Perhaps the anomaly is something similar – and passing through it leads to a different dimension, parallel reality, or just a faraway region of space.

One thing struck me as odd about the Abronians: the Federation was entirely unaware of them, despite the Abronian cryo-ship being relatively close to Federation space – such that Captain Burnham could reach it using Book’s ship in a short span of time. It’s possible that the Abronians had been asleep for millennia, unnoticed by the Federation and the wider galaxy for all that time. But it’s also at least possible that their cryo-ship is a newcomer to the area. If so, perhaps it arrived here via the DMA.

Theory #19c:
The Abronians will return to help the Federation later in the season.

A deceased Abronian.

One of the themes of Discovery since Season 3 has been connection, including building connections between the Federation and other races and organisations. The Abronians were awoken from cryo-sleep thanks to the interventions of Captain Burnham and Tilly – at least in part – and they may seek to repay the Federation, or Captain Burnham personally, for that help.

We saw this play out last season with Ni’Var; in the season finale Ni’Var ships raced to the Federation’s aid as the Emerald Chain attacked. Perhaps the Abronians will likewise step up to help when the Federation needs allies.

Theory #19d:
The Abronians’ moon-ship may be useful in a later story.

“That’s no moon…”

At this stage I can’t envision precisely what use Captain Burnham and the crew might have for a moon-sized starship… but that doesn’t mean such a need won’t arise! The Abronians’ cryo-ship is huge, and at least superficially seems to have the mass of a moon or small planetoid. If Captain Burnham and the crew needed something that large for some purpose, perhaps they’ll return and either take it or negotiate for it.

As we saw in Choose To Live, the moon-ship was in full working order. All it needed was some extra dilithium to power up and it was perfectly capable of moving under its own power, and its computer systems were still functional. The only system that seemed to have failed was the wake-up timer! So if – for reasons yet unknown – the crew need a huge starship, perhaps we won’t have seen the last of the moon-ship.

So that’s it!

The USS Discovery.

At present, those are all of the theories I currently have in play. Some are more likely than others, some are perhaps plausible but may not come into play in Season 4, and maybe some are just plain silly! But I have a lot of fun thinking them up and writing these lists, and that’s really what this is all about!

After two episodes in a row in which we got minimal advancement of the season’s main storyline, The Examples seems to be teasing us with a return to the DMA in a significant way. I can hardly wait to see what lies in store for Captain Burnham and the crew!

Before we go, one final point. I write up these theories because I like Star Trek and I like writing. But for some folks, fan theories can hamper their enjoyment of a film or television show. It’s worth keeping in mind that most of these theories probably won’t pan out, and we have to be prepared for the fact that even the most well-constructed fan theory, no matter how fun and plausible it seems, simply won’t turn out to be true. If you find that speculating and reading theories is beginning to detract from your enjoyment of Star Trek: Discovery – or any other television show or film – it might be a good idea to take a break for a while.

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.

Let’s get hyped for Star Trek: Resurgence!

Spoiler Warning: There may be minor spoilers ahead for the Star Trek franchise.

I was blindsided by the recent announcement of Star Trek: Resurgence – a brand new video game set in the Star Trek galaxy. Though there have been a couple of crappy mobile games and the ever-present Star Trek Online, it’s been almost a decade since the last single-player video game in the Star Trek franchise… and that didn’t go too well!

On the whole, Star Trek as a franchise hasn’t been especially well-served in the video game realm, despite the fact that there’s always been a significant crossover between Trekkies and gamers. When compared to the Star Wars franchise, which boasts some truly excellent games, Star Trek titles have never really managed to cut through, and with only a couple of exceptions even the best Star Trek games have mostly been the preserve of existing fans.

A new Star Trek game is warping onto our screens!

Here’s hoping that Resurgence can change that! Early indications are actually pretty good: the game’s announcement came at the Game Awards, one of the biggest industry events outside of E3. Resurgence has been picked up by a number of gaming publications and websites, featuring on several lists of the “best announcements” made at the event. Because it’s been a while since there was a Star Trek game, I think that might actually work in Resurgence’s favour to an extent!

One of the main things that seems to have piqued the curiosity of many players is the pedigree of the developer: new studio Dramatic Labs. Dramatic Labs is a studio comprised of former writers and developers at Telltale Games, the studio behind titles like the incredibly well-received The Walking Dead, The Wolf Among Us, and the Batman adaptation. Many Telltale titles were exceptionally popular, with fans praising the quality of the writing and the unique branching stories that led to multiple narrative paths and several different endings.

The bridge of the USS Resolute.

I played through Telltale’s Batman game a few years ago and it was an enjoyable experience that was something different from many other titles. These narrative adventure games put storytelling and dialogue front-and-centre, allowing players to choose what to say at key moments and to influence the direction of the story through the choices they make. When I played through Batman it felt almost like an interactive film: a deep story, well-animated cut-scenes and sequences, but with many different moments at which I could choose what happened and which way the story would proceed.

The choices in games like these aren’t always obvious. In games like Mass Effect or Fallout, for example, there’s usually a “good guy” choice and a “bad guy” choice, sometimes with a neutral option thrown in for good measure. In Mass Effect you can, for example, choose to punch a news reporter or answer her questions, and in Fallout 3 you can choose to defuse a bomb or arm it and blow up a settlement. Both examples show how players can influence the story and shake up the game world, but in both cases it’s clearly telegraphed which are “good” and “bad” options. Telltale/Dramatic Labs titles don’t always make it so obvious!

Firing a phaser in the trailer.

For example, in the Batman game I mentioned, there are several points at which you have to make decisions that can have ramifications for the rest of the game but where the choice isn’t obvious. Choosing whether to save one character or another can end up creating a new villain to fight, or choosing to attend an event in costume as Batman can lead to a wholly different outcome than if Bruce Wayne attended without his disguise. These are just examples of the kind of branching narrative choices that Dramatic Labs is teasing us with in Resurgence.

We’re also promised third-person action sequences throughout Resurgence, and we saw examples of this in the trailer too. The official announcement also lists “shuttle piloting, phaser fights, tricorder scanning, stealth, and micro-gameplay mechanics” as things we’ll be able to do in the game. I’m not sure what “micro-gameplay mechanics” means in this instance; it sounds like it could be mini-games, and things like picking locks or computer hacking spring to mind as examples from other franchises. But it all sounds like a ton of fun!

Scanning with a tricorder.

From the trailer we got a glimpse of some of these systems in effect. There was a sequence with a character wearing an EV suit on what looked like the outer hull of a starship firing their phaser, a tricorder scanning sequence that looked like a lot of fun, and some sneaking around that was potentially representative of one of the stealth sections.

The idea of having two playable characters is fun, too, and we’ve seen a number of recent games do this to great effect. While we don’t know much at all about either of the playable characters, the fact that one is a senior bridge officer and the other is a non-commissioned engineer should mean we get to see two very different perspectives on the same story. Both characters should be approaching the situation from very different starting places, and that already sounds like something that could be a lot of fun. Aside from Chief O’Brien, we haven’t spent a lot of time with enlisted personnel before, and Resurgence might actually be the first time we’ve seen an enlisted crewperson as a playable video game character.

A familiar face!

It was so great to see Spock in the trailer, and I felt that the voice actor did a creditable job at imitating Leonard Nimoy’s iconic performance. Whether Spock will have a major role to play in the story isn’t clear at this stage, but as one of Star Trek’s most legendary characters his presence should be interesting at the very least. Dramatic Labs has also teased that there may be other “fan-favourite” characters included in the game, but no details yet on who those characters could be.

Dramatic Labs promise that players will “make those similar tough choices that iconic Star Trek heroes have been forced to contend with.” This is emphasising the narrative choice aspect of the game, and reinforces what I said earlier about the difficulty of some of the choices in games of this nature. The story seems to involve two alien races “on the brink of war” – I didn’t recognise either of the alien races seen in the trailer. Resurgence sounds enthralling, and I’m really excited to get stuck in.

Players will have to make some pretty tough calls in Resurgence

We need to set appropriate expectations, though, no matter how exciting it may be to finally get a new Star Trek game after such a long time! This isn’t going to be a sprawling adventure on the scale of something like Mass Effect, nor will it be an open-world title like Cyberpunk 2077. It’s a narrative adventure game, and that (hopefully) means that we’ll get a very strong and engaging story with a good degree of choice over how it proceeds. The third-person adventure elements look fun too, and I’m excited to try out things like phaser combat and tricorder scanning.

So keep an eye out for Resurgence when it arrives in the spring. Given the developers’ pedigree, I think Resurgence has the potential to appeal to fans of narrative titles and Telltale Games as well as Star Trek fans, and as long as the game is released in a bug-free state it has a lot of potential. Star Trek feels like a natural fit for a narrative adventure title, and it reminds me in some ways of games like Deep Space Nine: Harbinger and Hidden Evil from the late 1990s/early 2000s.

I’m trying not to get over-excited! I’ve been hoping for a new single-player Star Trek game for years, and hopefully Resurgence will be the first of many as the franchise continues to grow and expand. Regardless, I’m eagerly awaiting its Spring 2022 release! I hope you’ll come back when Resurgence is out for a full review.

Star Trek: Resurgence will be released for PC, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series S/X in Spring 2022. Star Trek: Resurgence is the copyright of Dramatic Labs and ViacomCBS Consumer Products. 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.

Star Trek: Discovery review – Season 4, Episode 4: All Is Possible

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4.

Last week we saw Captain Burnham and the crew largely leave the gravitational anomaly behind as Discovery told three distinct stories. The main thrust of the season still involves the DMA – as the anomaly is now being called – so it was interesting to see that All Is Possible once again shelved that story to take us on another pair of side-missions.

Unfortunately Discovery’s fourth season is still unavailable to large numbers of Trekkies. Fans from Puerto Rico to Tokyo still have no (official) way to enjoy the series, and this self-defeating corporate nonsense is something I’m going to continue to call out at every opportunity. The rollout of Paramount+ internationally next year means nothing to millions of fans in Asia, Africa, and other regions when ViacomCBS believes they don’t exist.

The USS Discovery at the beginning of the episode.

Though there were secondary and tertiary plotlines in All Is Possible, there’s one massive thing that we have to talk about first and foremost: the departure of Lieutenant Tilly. I have to be honest: I did not see this coming – at least, not this early in the season. We’re four episodes into a thirteen-episode season, and Tilly’s arc has already seemingly concluded. Though I had begun to make predictions last week about Tilly’s fate after she’d been seeming so out of sorts, I figured her departure – if indeed that’s what her arc was building towards – wouldn’t have happened until nearer the end of the season.

When All Is Possible kicked off and it became apparent that we were getting a Tilly-focused story, particularly another “Tilly tries something new” story, I was worried that the episode was going to feel a bit samey after she’d played such a big role last week. And although it now makes sense in light of her departure, I’m still left wondering if it was the right decision to schedule these two stories one after the other. We had some stirrings and indications from Tilly in episodes 1 and 2 that she was feeling this way, but because that story has now effectively run its course it feels if not rushed then at least unnecessarily condensed and perhaps poorly scheduled.

This was a huge episode for Tilly – and for Discovery.

The big question, of course, is whether Tilly’s exit will be permanent. It certainly felt permanent in All Is Possible; she even got the send-off from the crew that I argued Saru had missed at the end of Season 3. I don’t usually comment on cast interviews or The Ready Room (Discovery’s social media after-show) in these reviews, but when Mary Wiseman was interviewed this week after All Is Possible had aired she said that we’d see Tilly again before the end of the season. Good news on that front, at least!

That doesn’t mean that Tilly will remain a series regular, though, and her new role at Starfleet Academy has removed her from the ship and thus presumably the bulk of the season’s remaining episodes and storylines. And if the show is renewed for a fifth season – something which is surprisingly still unconfirmed – presumably Tilly won’t be back in a starring role. I think that’s a shame in a way; she was a fun character and after three seasons was beginning to grow in confidence and settle into her role. Or so it felt.

Mary Wiseman spoke with Wil Wheaton on The Ready Room after All Is Possible aired.

On the production side of things, it’s my suspicion that the show’s writers and producers didn’t really know what to do with Tilly or where to take the character. The addition of Adira to the regular cast was a double-edged sword for Tilly because they occupy a very similar role. In Seasons 1 and 2 in particular, we’d see Tilly working in the engineering bay with Stamets. Now Adira fills that role – and because of their deeper connection with Stamets, arguably fills it better. In Seasons 1 and 2, Tilly was the “baby” of the crew; young, fresh-faced, eager to please, worried about making mistakes, and keen to do her part. Adira once again has taken over that character space.

Tilly’s growth across Seasons 1, 2, and 3 was wonderful to see, and when we compare her to characters like Harry Kim – who essentially remained in a similar space for all of Voyager’s seven-year run – we can see the advantages of serialised storytelling. But Tilly’s growth as a character appears to have come at the expense of her roles on the ship, and the addition of Adira may well be the proverbial last straw. We can kind of see the snowglobe scene through this lens – Tilly was passing the metaphorical torch to Adira in that moment.

Tilly gave her snowglobe to Adira.

We can’t ignore the rumours of a Starfleet Academy series when discussing Tilly’s fate and future. Alex Kurtzman, who’s in charge of the overall Star Trek franchise for ViacomCBS, hinted that such a series is in the early stages of being worked on, and in more ways than one the Tilly side of All Is Possible feels like a backdoor pilot for such a show. We got to see Tilly both as a teacher and a leader across these sequences, laying the groundwork not simply for her departure from Discovery, but setting up her new role as well. Could all of that mean that the potential Starfleet Academy series would feature Tilly in some capacity?

I thought Mary Wiseman’s comment in The Ready Room that Tilly’s confidence had been knocked by the events of Season 3 was particularly interesting, too. Tilly had seen herself as being on a pathway that led her from the Academy to the captain’s chair, but when she got a taste of what being in command was like, she found herself out of her depth as she lost the ship to the Emerald Chain. I think a lot of us can relate to feeling overwhelmed by a difficult situation, or feeling the weight of responsibility and struggling with it. Perhaps, as Wiseman suggests, Tilly came to believe that command was not right for her.

Tilly came to believe that she was on the wrong path.

If that’s true, whose fault is it? There was a lot of talk during Season 3 that Saru’s decision to appoint Tilly as acting first officer was the wrong one, and while I defended that story point at the time, when seen through this new lens perhaps we could argue that Saru pushed Tilly to take on that role too quickly. He’s been a good friend to her, and has advocated for her when others might overlook her – as we saw last week, for instance – but might his friendship with Tilly have blinded him, at least somewhat, to her inexperience and limitations? Perhaps.

Tilly held her own when the Emerald Chain captured the ship, and ultimately played a huge role in retaking Discovery and defeating the villainous faction once and for all. But of course it makes sense that those events would completely bowl her over. She was in command of Discovery for a few hours at most, then lost the ship to the Emerald Chain with relative ease. As someone who’d hoped to one day have her own command, those events are going to take a toll, and it’s natural that she’d question her career path in light of what happened. We can empathise with Tilly, putting ourselves in a comparable situation.

Tilly had hoped to one day command her own ship.

It was sweet to see Tilly reunite with Captain Burnham, albeit briefly, before confirming her decision and departing the ship, and the choice of Tilly’s cabin for this conversation harkened back to the early part of Season 1 where we saw them together in that room on multiple occasions. Tilly had already made her decision, it seemed, before Burnham even sat down. Yet it was still nice to see her talking it out with her captain – and friend – before finally confirming that this is what she was going to do. The moments between Mary Wiseman and Sonequa Martin-Green added a lot to this story.

One person who was missing from Tilly’s story, though, was Stamets. Not only had Tilly and Stamets worked together since the beginning of the series, but earlier in the episode Tilly had expressed concern about “abandoning” him to go on the Academy mission – yet by the end of the episode she was content to leave him all alone with the problem of the DMA while she took on a new role. I think we could still have arrived at this point; I’m not saying Tilly needed to stay behind for Stamets’ sake or anything. But just as it was sweet to see her with Burnham talking things out, I think we could have also enjoyed a quiet scene between Tilly and Stamets in which she at least said her goodbyes. As it is, we saw Stamets incredibly briefly as Tilly left the ship, but that was it.

Stamets was noticeably absent from Tilly’s story.

This is the second story in a row from which Stamets has been absent after he missed Gray’s incorporation last week. I confess I’m not exactly sure what’s going on there – whether it’s simply a case of writing/editing (Stamets actor Anthony Rapp confirmed on social media that at least one of his scenes this week had been cut) or whether there’s some other reason for the lack of Stamets in some of these stories. He has a deep connection with Adira, which made his absence from that story last week feel very odd, but he also has a friendship with Tilly – so again, his absence from her story aside from one mention right at the beginning makes it feel like there was something missing; someone else she needed to talk to before departing.

One thing that wasn’t made clear is this: what exactly is Tilly going to teach? I presume it must be something scientific; she can’t be lecturing on subjects like command, surely? Starfleet Academy has usually been presented as something akin to both a military officers’ training college and a civilian university – with different teachers for different subjects. Tilly has a scientific background, so presumably she’d teach something in that department. Or maybe Federation history… since she’s 1,000 years older than all of the cadets! Perhaps this is something we’ll see more of either later in the season or in that potential Starfleet Academy show.

Will we soon see Tilly back on our screens in another Star Trek series?

We haven’t even talked about Tilly’s mission! She and Adira led a small group of cadets on what was supposed to be a training mission – but in true Star Trek style, things didn’t go to plan. I confess at first that I felt sure the whole thing was either a setup or a simulation, especially because of the involvement of the mysterious Kovich. However, it doesn’t seem like that was the case; Tilly’s shuttle really did crash-land on an icy moon, and the monsters she and the cadets had to escape from were real.

It wasn’t clear how much time had passed since the season premiere, when we were first told that there would be a new intake of cadets, so we don’t really know how long these cadets have been together. However, I felt that some of the tension between them was a little forced. The whole point of Starfleet Academy, especially in a post-Burn galaxy, is to work together and pull in the same direction, yet we had exaggerated moments of drama and tension between the cadets that just didn’t feel natural even in that context.

Adira and Tilly with the trio of cadets.

Even if many people in the galaxy harbour prejudices or preconceptions about other races and people from beyond their homeworlds, why would anyone who felt that way apply to join Starfleet? Surely we should be seeing if not “the best of the best” then at least folks who are superficially willing to work together; it kind of felt like the cadets were from some semi-scripted reality TV show, the kind that deliberately chooses the most belligerent contestants with clashing personalities. In that sense, I didn’t really like any of the cadets.

They had to start from a place that would allow them to come together, and in particular that would allow Tilly to be the catalyst for their coming together, and I get that. But it just felt like Discovery, not for the first time, had taken things to an unnecessary extreme in order to accomodate this storyline, putting up one-dimensional characters who behave unnaturally solely for the sake of presenting Tilly with an obstacle and a point of contrast. The young actors who played the cadets did very well with the material they had, but their characters were written rather poorly, in my view, and none came across as feeling either like a natural character nor someone we’d expect to find at Starfleet Academy.

Cadets Harral (left) and Gorev didn’t get along at first.

The puzzle that lay before Tilly and her crew felt like it came right out of The Next Generation’s era, and I’m absolutely there for that kind of story! After the shuttle crash the group was unable to stay aboard, instead needing to climb out of the crash site to use their communicators – but were unable to use their technology. This angle definitely added a lot to the story, forcing Tilly and everyone else to think outside the box rather than being able to fall back on phasers, tricorders, and the like. Again, this feels like a story that could’ve come from any of the 24th Century Star Trek shows and was a great throwback to the franchise’s past.

On a personal note, I have to confess that I’m sad to see Tilly go. If the move is permanent, as it seems to be at this stage, her absence from Discovery will be noticeable going forward, even if Adira steps up to fill the void she leaves behind. I liked Tilly as a character so much that one of my cats is named Tilly (if you want to see a couple of photos of her, follow me on Twitter!). Tilly didn’t just fill that “young and eager” role that characters like Harry Kim, Nog, Hoshi Sato, and Wesley Crusher had in past iterations of the franchise. She was always more than just a character archetype. Tilly was strong in her own way, brilliant in her own way, and funny to boot.

Tilly’s departure is a bittersweet moment.

Across the show’s first three seasons we saw Tilly as a scientist and engineer, working with Stamets on the Spore Drive. We saw her as a friend to Michael Burnham and Saru in particular. We saw her passionate about helping the jahSepp in the mycelial network, and how she came to the aid of Po in the Short Treks episode Runaway. She grew and developed from an anxious cadet into a true Starfleet officer – and while she will undoubtedly make an excellent teacher to a new generation of cadets, her departure is a sad one. She may yet have a role to play either this season or in Star Trek’s future, and I look forward to that. But for now, it seems as though Discovery is moving on without her. And I’m sure I’m not the only one who feels a stab of sadness as a result.

Just like Discovery plans to do we’ll leave Tilly behind and move on to take a look at the rest of the episode. There was a secondary storyline that involved Captain Burnham, Saru, President Rillak, and Ni’Var’s leader T’Rina. We talked last week about contrivances and forced drama, and in this story I’m afraid we did get some of that for the second week in a row. At what was supposed to be the final moment of negotiations to bring Ni’Var back into the Federation, the Ni’Var delegation dropped a diplomatic bombshell that appeared to sabotage the entire thing.

The negotiations on Ni’Var.

Both the timing of this and the way it was pretty easily resolved feel rather contrived – and it begins to stretch credulity to think that neither the Federation nor Ni’Var negotiators could’ve come up with Captain Burnham’s “independent committee” solution on their own. It seems like the perfect compromise, allowing Ni’Var the backdoor they needed without compromising the Federation’s unity. Captain Burnham wasn’t the only person capable of proposing such a solution, and while her status as a citizen of Ni’Var and the Federation makes her well-qualified to serve, I have to ask if she’s the only citizen of Ni’Var who’s also in Starfleet at this point. It seems quite plausible that there are others, and thus her claim to be “uniquely” capable of coming up with this solution might be stretching the truth somewhat.

All that being said, these negotiations reminded me very much of the negotiations that my country, the UK, has been taking part in for much of the past five years. I don’t know whether this story was intentionally written as an allegory for Brexit, but it certainly felt like it had elements of that, and to my surprise it was handled in what felt like a mature way. Brexit, much like certain American political issues, divides opinion sharply, and it would be very easy for a story like this one to come down firmly on one side of the fence, presenting one side as morally right and the other as morally wrong. All Is Possible didn’t do that, and instead tried to find a way to cut through the political machinations of both sides before ultimately settling on a compromise.

Captain Burnham’s compromise can be read as a metaphor for our current divided political climate.

If we ever needed Star Trek to shine a light on contemporary issues through its sci-fi lens, we need it at the moment! There are so many divisive political topics, including Brexit, all across the world. What we’ve seen over the past decade or more are moves away from the political centre ground toward the extremes of left-wing and right-wing politics. The art of the political compromise has been lost in too many cases, and that’s a driving force for further division. Finding ways to compromise and to maturely understand that it isn’t always possible to have everything your own way is something politicians of all ideologies – and their supporters – need to understand, and Discovery delivered this message in a simple yet meaningful way.

It wasn’t the perfect story, as I’ve tried to explain. It had its contrivances that definitely felt forced. But at the same time, any British or European person can tell you that, having watched years of Brexit negotiations, such things aren’t as unrealistic as they might seem. Diplomats for both sides have, at times, seemed to be negotiating in bad faith, waiting to spring the next trap or throw in a new uncompromising proposal at the last minute. It’s a wonder that the Brexit negotiations got as far as they did, all things considered!

President T’Rina was happy with the proposed compromise.

So perhaps calling this story “contrived” was too harsh in light of what we’ve seen in the real world! Though I maintain it’s a story with some imperfections, it was an interesting one nevertheless. Star Trek has tackled many political issues in its long history, from nuclear proliferation to the teaching of religion in schools, but this is one of the first stories to really feature politicians and diplomacy as a key part of the narrative, with nakedly political considerations having to be taken into account by our heroes. That alone makes it a very interesting story.

It was wonderful to welcome Ni’Var back into the Federation after seeing how many worlds had quit the organisation last season. It definitely feels as though the Federation is now making significant strides in reforming; Ni’Var is the first of the “original” member worlds to rejoin as far as we know. Perhaps we’ll see Earth do the same one day soon? It would be a shame if Discovery left that particular storyline unresolved, especially after we saw how isolationist Earth had become in Season 3.

Ni’Var has rejoined the Federation!

President Rillak once again showed her almost Machiavellian political style; her willingness to lie and use truly underhanded tactics to get her way without revealing the extent of her meddling. By sidelining Admiral Vance and bringing in Captain Burnham and Saru, she was able to execute a hidden plan to bring Ni’Var back into the fold and negate their last-second demand. It was, all things considered, a brilliant tactical move on her part – and re-emphasises her uncompromising nature and willingness to bend or even break the rules to advance the Federation’s best interests.

Despite what appeared to be a détente between Captain Burnham and President Rillak toward the end of the episode, I hope Discovery’s captain keeps her wits about her. If we’ve learned anything about President Rillak over these four episodes, it’s that she sees everything and everyone around her as means to an end. Working with Captain Burnham was, in this instance, advantageous to her – but Rillak will throw Burnham into the fire, and Discovery along with her, if she believes it will help her cause or advance what she considers to be the best interests of the Federation.

Captain Burnham would be well-advised to beware of President Rillak… no matter how superficially friendly she’s currently being.

We haven’t seen President Rillak do anything completely immoral or “evil” just yet. And Discovery may choose to keep this nuanced presentation going all season long. I kind of hope that’s the case, because right now I’m loving President Rillak’s “ends justify the means” approach to governing. Chelah Horsdal plays the character expertly. But Rillak is the kind of character with whom a major confrontation feels increasingly inevitable – her moral ambiguity and Captain Burnham’s moral certainty feel like they’re on a collision course.

There was a third storyline this week that involved Book and Dr Culber. As with Stamets, Book found a new but fun pairing with Culber and I hope they revisit this character pairing in future; it would be great to see them socialising or doing something else outside of a therapy setting. There seemed to be a hint that Dr Culber might need help processing his own trauma – perhaps from his time trapped in the mycelial network – in future, and if so maybe Book could have a role to play there.

Dr Culber may need some help of his own one day.

The programmable matter that Dr Culber and Book turned into sand reminded me a lot of the sequence from Lower Decks Season 1 where a character is in the process of “ascending.” Maybe that was unintentional, and tonally these sequences could not be further apart! But it was interesting to see nevertheless – or perhaps I’m grasping at straws as I desperately hope for the producers of Star Trek to do more to bind the franchise together!

Grief and loss have been themes that Discovery hasn’t shied away from, but they’ve come to the fore this season. Book and Tilly’s stories both connect to this theme as they’re both experiencing different kinds of loss. In a sense, everyone aboard Discovery is in Book’s shoes – they’ve all lost everyone they ever knew apart from each other, albeit in very different ways. And we’ve seen different ways of coping with that loss. Book seems to have made a small breakthrough this week, and I hope we see that process continue.

Book spent this week’s episode in counselling.

Captain Burnham, in Season 3, seemed to rebel against the confines of Starfleet for a time. At first I called this a character regression, as I felt it risked dragging her back to her early Season 1 portrayal. But thinking about it again, through this lens of loss and grief, I think we can see that Burnham is processing the loss of her friends, her family, and the world she had to leave behind. She did so at first by seeking freedom, then later by reconnecting with her mother and reaffirming her relationship with Starfleet. In Tilly’s case, she couldn’t make that renewed commitment and has chosen to walk a new path. Book’s destination is still unknown as he’s still processing his own loss and grief – and I’m glad. What Book has gone through is almost unfathomable, and it wouldn’t feel right if this element of his story and characterisation were resolved too soon.

So that was All Is Possible. Tilly’s departure is by far the biggest thing to come out of the episode, and while there were some minor gripes with the way both Tilly and Burnham’s stories unfolded, ultimately they end up feeling like little more than nitpicks in what was a solid, thoroughly enjoyable episode. I’m glad to see Discovery sidestepping the main serialised story and being bold enough to give us these semi-standalone episodes. I have no doubt that some elements will come back into play later in the season, but for the most part what we got is a self-contained story – albeit one with huge implications for the series going forward.

Onward to new adventures.

Unlike when Nhan and Georgiou left last season, I’m not scrambling around wondering who will replace Tilly. That question has already been answered: Adira. However, her departure does potentially open up another space for a new crew member – and with noteworthy absences in departments like security and tactical, perhaps we could be set for someone new to be promoted. Gray is perhaps the most readily apparent choice, but there are great cases to be made for Detmer or Owosekun to get bigger roles on the bridge, as well as for the return of Nhan, or even for a new character to be introduced.

A few scattered final thoughts: is Kovich the head of Starfleet Academy now? Has he always been in that position? I don’t recall him being referred to as “doctor” last season, but he could be some kind of professor holding a PhD. That’s an interesting take on the character! At first I wondered if he was responsible for the shuttle going off-course… it seems like something he might do! Beginning the episode with a traditional captain’s log was awesome, and another great callback to past iterations of the franchise. I believe this was the first time we heard a 32nd Century stardate, too.

Kovich made his first appearance of the season.

It was neat to see the Season 3-style uniforms being used for some secondary characters. Season 3 of The Next Generation and the film Generations both showed that there’s a kind of transition period when uniforms are being changed over where not everyone has the new variants, and that seems to still be true in the 32nd Century. I was a little worried when Admiral Vance seemed to have been shuffled out of the story in favour of President Rillak – but it makes perfect sense. Vance isn’t a politician and wouldn’t be capable of doing the kind of things we saw Rillak doing this week. Nor would I want to see Vance go down that road. Finally, is there a blossoming romance between T’Rina and Saru? I certainly felt the show was hinting at something to come!

Although it was bittersweet to say goodbye to Tilly, All Is Possible was a good episode all around. It didn’t feel overcrowded, which episodes with multiple competing storylines sometimes can, it had some well-made visual effects particularly on Tilly’s away mission, and though the politicking was somewhat contrived in one respect it was still genuinely interesting to see Star Trek trying something different. I think for me, All Is Possible is the high point of Season 4 so far.

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, Google Play, 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.

Cyberpunk 2077 – one year later

It’s been exactly a year since Cyberpunk 2077 launched to critical derision, so I thought it would be a good opportunity to take a look at the game’s progress, lack of progress, and future prospects. On the 10th of December 2020, after several delays, Cyberpunk 2077 was released by CD Projekt Red – but that really isn’t the beginning of the story, and we should briefly step back and consider the absolutely ridiculous hype bubble that had grown around the game.

Here’s my two cents: no matter what state Cyberpunk 2077 had been in a year ago today, an awful lot of players would still have found it to be a disappointing experience. CD Projekt Red’s marketing team didn’t just passively sit by and allow the game’s hype to get out of control in the weeks and months before its launch, but they actively contributed to the problem.

How is Cyberpunk 2077 doing one year on?

For a bit of background, I worked for a time in the video games industry, specifically on the marketing side of things. While it’s natural for a publisher to want to see excitement around a title, care must be taken at an early stage not to allow the hype to get out of control. In the case of Cyberpunk 2077, CD Projekt Red’s marketing team seemed incapable of saying “no” – they weren’t doing a good job of managing players’ expectations, and the result was that many players built up a vision in their minds of a once-in-a-lifetime experience; a “perfect” video game. Cyberpunk 2077 was never going to live up to the hype that had been built up, no matter how good it might’ve been. At the end of the day, it’s just another video game.

I could see this hype bubble inflating, growing ever larger and slipping far out of CD Projekt Red’s control. In October 2020, a couple of months before the game’s launch, I wrote an article here on the website titled Cyberpunk 2077 and the dangers of hype in which I expressed exactly this opinion. No matter how good the game might ultimately be, I argued, CD Projekt Red had allowed the game’s hype bubble to get far too big. By allowing prospective players to set incredibly high expectations and refusing to lift a finger to rein in those expectations, the game’s publisher was setting up players for disappointment – as well as setting up the game for negative reviews.

I wrote this article back in October 2020 – before the game’s disastrous launch.

I couldn’t have known then, of course, how bad Cyberpunk 2077 was lining up to be. A last-second delay from November to December should’ve rung alarm bells, but with the pandemic causing all kinds of disruptions last year it wasn’t a huge shock. CD Projekt Red had a great reputation as being a player-friendly company, so if they said they needed a few extra weeks to give the game a final spit and polish, most players were willing to believe that that’s all it was.

Despite my scepticism of Cyberpunk 2077 being everything it was hyped up to be, I was still expecting to see a decent game in December 2020. When the dust settled, I felt sure there’d be a rock-solid role-playing first-person shooter under the hood, even if the game’s loftier promises of redefining what a single-player game could look like didn’t come to pass. To say that I was stunned by the state of the game at launch, and the reaction to it from players, would be an understatement!

Pre-release promotional artwork.

In early December 2020, CD Projekt Red could do no wrong in the eyes of players. The Polish studio’s previous title had been the critically-acclaimed The Witcher 3 in 2015, a game widely hailed as one of the best titles of the generation. With policies and practices that many folks felt were player-friendly, and a good social media team to boot, the company had one of the best reputations in the industry. That evaporated overnight, and a year later the company’s reputation remains in the toilet.

Players will put up with a lot of things – many scandals in the games industry, even very serious ones, usually end up disappearing without a trace by the time a publisher has the next AAA title ready to go. But one thing players can’t abide is being lied to – and CD Projekt Red lied about Cyberpunk 2077.

CD Projekt Red – developer and publisher of Cyberpunk 2077.

The game was not fit for purpose on Xbox One and PlayStation 4 – and even today, a full year later, it still performs far worse on those machines than it does on high-end PCs and the newer generation of consoles. CD Projekt Red knew this – because at some point during Cyberpunk 2077′s development, a decision was clearly made to prioritise next-gen consoles over what were then the current-generation machines.

CD Projekt Red had a choice during development: scrap the current-gen version and go all-in on next-gen and PC, or scale the game back so that performance on older hardware would improve. They chose to do neither, doggedly (and stupidly) pushing ahead with a plan to release the game on hardware that, even under the best possible conditions, can’t really handle it. This problem has been lessened by the extra year of development time since release, but it hasn’t gone away. Bugs and glitches remain on Xbox One and PlayStation 4, and actions taken to mitigate the game’s performance issues have meant that players see things like fewer pedestrians, less traffic, and get shorter draw distances. Xbox One and PlayStation 4 players have ended up with a worse version of the game no matter how you look at things.

Cyberpunk 2077 was almost unplayable on PlayStation 4 and Xbox One when it was released.

I don’t believe for a second that CD Projekt Red’s management was blissfully unaware of the game’s impending problems this time last year. Their excuse that most developers were working on PCs so no one knew about the bugs and performance issues on home consoles is ludicrous in the extreme – and if anyone out there believes it, I’ve got a bridge to sell you. No, they knew full well that the game was not in a fit state for launch, but they went ahead and launched it anyway. And then, when things understandably went sideways, instead of coming clean and admitting they made a mistake, CD Projekt Red lied about it.

Cyberpunk 2077 is barely ready for release today, let alone a year ago. It needed many more months of development time to even get to this point, and I would argue that if it had been released today it would still have received criticism for its bugs, glitches, and other issues – especially on those older consoles. Not to mention that the overinflated hype bubble we discussed would have burst as players came to find a game that has some decidedly mediocre gameplay elements; things that other titles did better years ago.

Pre-release concept art.

To me, that’s Cyberpunk 2077′s most egregious fault. Sure, the lies on the corporate side of things are pretty crappy. It was definitely an overhyped game, too. And the bugs and glitches will forever define Cyberpunk 2077 for a great many people. But for me, I see so many gameplay elements and features underneath the bugs, performance issues, and scandals surrounding the game that just aren’t that good, or aren’t handled well within the game world. Despite its ambitions, Cyberpunk 2077 is, even on its very best day, an okay video game.

An engrossing, exciting story holds players’ interest, and I fully agree that a good story can redeem even the most mediocre of titles. But underneath that story is a game that just isn’t all that good. Its first-person shooting is okay… but hardly spectacular. I can point to many modern titles that do shooting better and in more fun ways than Cyberpunk 2077: Doom Eternal and Halo: The Master Chief Collection are two just within the single-player realm.

Shooting is a big part of Cyberpunk 2077 – and it’s an aspect of gameplay that many other titles do better.

Open-world gameplay is likewise something other titles do better. Grand Theft Auto V is still the definitive city-based open world game, and it gets so many things right that Cyberpunk 2077 gets wrong: driving, traffic, pedestrian/civilian NPC behaviour, traffic AI, mini-map/radar, police… the list goes on. Some of Cyberpunk 2077′s open-world elements feel so incredibly outdated when compared even to lesser games in a similar space – police AI and police spawning, for example, work far better and feel more intuitive in games like Saints Row 2, which came out in 2008.

I’d argue that the bugs, glitches, and performance issues actually ended up shielding Cyberpunk 2077 from some serious gripes about the way the game really works. The overnight bursting of the hype bubble surrounding the game a year ago mostly came about as a result of the bugs and the lies – players wanted to play the game they’d built up in their heads, and were angry with CD Projekt Red for releasing it before it was ready. It’s only as the game’s development continued that we’ve come to see how Cyberpunk 2077 might’ve looked had it been launched in a better state – and for a lot of folks, these gameplay elements just aren’t particularly well-made or fun. They’re certainly not innovative, meaning that despite bold claims in the run-up to the game’s release, Cyberpunk 2077 was never going to be the once-in-a-lifetime experience that many players had hoped for.

Cyberpunk 2077 has experienced quite the fall from grace.

Now that we’ve had a year to see the game in all its glory, it’s my firm belief that Cyberpunk 2077′s problems don’t begin and end with its incredibly bad launch. That launch will, justifiably, go on to define the game for the rest of its days. Very few titles before or since have seen such a spectacular implosion, and CD Projekt Red will be scrambling for years to recover from this self-inflicted wound. But as the dust settled and as the game’s development has continued, with bug fixes and patches having been rolled out over the course of this first year, we’ve seen what Cyberpunk 2077 could have been – or at least we’ve seen glimpses of that.

A strong, engaging story with some well-written dialogue and clever world-building keeps Cyberpunk 2077 interesting. Had it not been for the bugs and glitches, that might’ve been good enough to see it pick up better-than-average reviews: seven or seven-and-a-half out of ten, that kind of thing. But underneath that story, gameplay remains shallow. The game is comprised entirely of systems that other titles have done before – and in many cases have done far better. There was never anything new or innovative about Cyberpunk 2077, and the things that could’ve made it seem better than it was – such as its densely-packed open world or sense of scale – were completely ruined by the bugs and launch issues.

It’s possible that 2022 will see more updates for Cyberpunk 2077 that start to change the narrative. A next-gen console version is already on the cards for the first half of next year, for example, and there are more free updates to come in the months ahead. But as things stand, I can’t see a way to turn Cyberpunk 2077 into the game that CD Projekt Red spent eight years hyping to oblivion. It has the potential, once all the bugs are fixed, to be a decent game. But it will never be a great one.

Cyberpunk 2077 is out now for PC, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series S/X. Cyberpunk 2077 is the copyright of CD Projekt Red. Some promotional artwork courtesy of IGDB. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Five films (and TV specials) to watch this Holiday Season!

Christmas is edging closer by the day! The main event itself is now only a couple of weeks away, so we’re well and truly in the wintery grip of the Holiday Season. This time I thought it could be fun to take a look at five films and television specials that make for great festive viewing.

Although I’m not a religious person by any stretch, Christmas has always been an event I look forward to… beginning as early as September! Though not every Christmas was perfect when I was a kid, I have some pretty happy memories of this time of year, and there’s something about the juxtaposition of the cold, dark winter going on outside with the warmth and the twinkling lights of a Christmas tree inside that really makes this time of year feel special, almost magical!

Christmas is coming!

Between the lights, decorations, and festive pop hits, I think it’s fair to say I’m all about the secular, commercial side of Christmas; Santa Claus, not Jesus, stands out to me as the season’s main character! So that’s my mindset as we go into this list.

Please keep in mind, as always, that this list is wholly subjective. If you don’t like any of these Christmas films and television specials, that’s perfectly fine. I’m not trying to pretend that these are the “all-time best ever” Christmas specials, or anything of the sort!

With that caveat out of the way, let’s dive into the list!

Number 1:
The Polar Express (2004)

The titular Polar Express.

When it was released in 2004, The Polar Express received criticism for its “creepy” CGI – but I think it’s safe to say that its semi-realistic animated style has aged pretty well. Tom Hanks stars in this modern animated classic, and takes on several different voice roles across the film. Not providing names for main characters is a risk (not to mention something you’d get a failing grade for in most creative writing classes!) but that doesn’t actually hamper The Polar Express. The nameless protagonists are arguably more relatable as a result, allowing the audience to project themselves onto the characters with ease.

There may have been a couple of Christmases when I was very young where I did, in fact, believe in Santa Claus (or Father Christmas, as we call him here in the UK). But my parents didn’t do the whole “all of your gifts come from Santa” thing, and among my earliest Christmas memories I can remember writing thank-you notes to family members for the gifts they’d given me. These things vary from family to family, though, and while I wouldn’t like to speak outside of my own experience, I think a lot of you probably have some recollection of believing in Santa Claus and subsequently losing that belief. It’s a theme that many different Christmas films have tackled – but The Polar Express gets it right. The protagonist learns, over the course of his adventures, to keep believing – a metaphor, perhaps, for valuing one’s childhood and remaining youthful.

The nameless protagonists.

I’ve always liked trains, and The Polar Express shows us a beautiful CGI rendition of an old-fashioned steam locomotive. Trains – model trains in particular – have somewhat of an association with Christmas, but this method of transporting kids to the North Pole was certainly unique! It gives The Polar Express a sense of adventure that road trip films and other films about long journeys often capture so well, with scenes like running around on the train roof and the train skidding across the ice all playing into that.

The Polar Express is a film with heart, but it’s also something a little different from the typical “let’s go and meet Santa Claus” fare of many other shows and films aimed at children. There’s a sense of scale in the journey we see the protagonists undertake, and because it’s told from a child’s perspective, there’s still some of that mystery and wonder; the sense that the kids don’t really know how everything works on the train. That magic is part of what makes the holidays so special.

Number 2:
The Lego Star Wars Holiday Special (2020)

Promo image for The Lego Star Wars Holiday Special.

I’ve had a review of this one in the pipeline since last year, but for various reasons it got buried under too many other writing projects in the days before Christmas! Stay tuned, though, because I daresay I’ll get around to a full write-up eventually! For now, let’s hit the key points. The Lego Star Wars Holiday Special is hilarious, and I found it to be a great palate-cleanser after The Rise of Skywalker had been such a disappointment.

Unlike this year’s Lego Star Wars Terrifying Tales, which focused solely on Poe Dameron, The Lego Star Wars Holiday Special brings back all of the main characters from the sequel trilogy – then takes a wild ride through all three of Star Wars’ main eras thanks to some well-timed space magic! Star Wars fans should appreciate many, many callbacks to past iterations of the franchise – not least the notorious Holiday Special, which was released in 1978 to critical derision!

Finn, Rey, Poe, Rose, and Chewbacca.

The Lego Star Wars Holiday Special is full to the brim with gentle jokes and parodies that poke fun at the Star Wars franchise without ever coming across as mean-spirited or laughing at fans. Some humourless fans, or those who want to lose themselves in that world, might find that offputting, but I reckon that a majority will be able to enjoy The Lego Star Wars Holiday Special for what it is: non-canon fun.

I was pleased to see that Disney+ is intent on doing more with the Star Wars brand than just serious projects like The Mandalorian, and in some respects I think we can argue that The Lego Star Wars Holiday Special – and other Lego Star Wars titles too – fill a niche similar to Star Trek: Lower Decks over in another wonderful sci-fi franchise. No Star Trek holiday special yet, though… but maybe one day!

Number 3:
I Won’t Be Home For Christmas
The Simpsons Season 26 (2014)

The Simpsons’ house all decorated for the season.

The Simpsons has undeniably lost its edge in recent seasons, and it’s increasingly rare to pluck out a genuinely good episode from the ever-growing pile – something I found out when I put together a list of a few of my favourite episodes earlier this year. But every now and then The Simpsons can still produce an episode somewhat akin to those from its more successful past. I Won’t Be Home For Christmas is, in my view anyway, among them.

Perhaps it’s the holiday theme that elevates what might otherwise be a less-enjoyable episode, but I find that there’s something very relatable about I Won’t Be Home For Christmas. A few years ago, when I was suffering with undiagnosed mental health issues and in the midst of a divorce, I found myself wandering the dark, empty streets on Christmas Eve – trying to clear my head. The sequences in which Homer does something similar in this episode really hit home for me because I’ve been in a similar position myself.

I found this presentation of Homer to be very relatable.

When you’re watching what feels like the whole rest of the world closing their doors and enjoying the holidays without you, life can feel incredibly lonely. Homer meets a number of characters on his own journey, but that sense of loneliness and missing out on what’s supposed to be the most wonderful time of the year is still a prevalent theme that runs through the entire story.

On a more positive note, I Won’t Be Home For Christmas features a couple of genuinely good jokes and laugh-out-loud moments. It also kicks off with a Christmas-themed reworking of the show’s famous opening sequence, so if you’re watching on Disney+ don’t hit the “skip intro” button! You’ll miss something fun if you do. In a lot of ways I feel echoes of Simpsons Roasting on an Open Fire in I Won’t Be Home For Christmas – and not just because of its holiday setting. The episode feels like a throwback to earlier seasons, when The Simpsons as a whole was doing far better at producing stories like this one.

Number 4:
Winnie the Pooh and Christmas Too (1991)

Is that Santa and his reindeer?

My younger sister received a VHS copy of Winnie the Pooh and Christmas Too as a Christmas present (I would guess in 1992) and watched it endlessly! As a result, it’s probably one of the Christmas specials that I’ve seen most often – it was a mainstay in our house in the run-up to Christmas for several years in a row! What’s more, the original Winnie the Pooh books by A. A. Milne were permanent fixtures on my childhood bookshelf, and I’m sure those books were read to me when I was very small. So the entire Winnie the Pooh series is something I have a great fondness for!

Christmas is a time for nostalgic steps back like this, forgetting the modern world and all of its troubles for a while. Winnie the Pooh and Christmas Too is an incredibly sweet Christmas tale set in the Hundred Acre Wood, perfect for a few minutes wrapped up in Christmas-themed cuteness and escapism. Or is that just the nostalgia talking?

Eeyore, Piglet, Tigger, and Pooh.

Because Winnie the Pooh has always been pitched at very young children, the story here is rather basic. There’s a kerfuffle surrounding Christopher Robin’s letter to Santa, and Pooh tries to save the day. Despite those limitations, though, the story is incredibly cute, really sweet, and full to the brim with Christmas fun.

Winnie the Pooh and Christmas Too isn’t something I go back to year upon year; doing so would probably ruin the magic. But every once in a while I treat myself to this blast of very personal ’90s nostalgia and enjoy my memories of Christmases past. As 2021 looks set to be the second Christmas in a row where we may not be able to do everything we’d want, I think finding moments like that might be very important for a lot of folks.

Number 5:
Phineas and Ferb: Christmas Vacation (2009)

The special’s title card.

As a childless adult, Phineas and Ferb is a series that shouldn’t have had much appeal for me! But as I’ve said many times before, the best kids’ shows have something to offer adults as well, and when I sat down to watch Phineas and Ferb for the first time back when I had the Disney Channel, I found a truly engaging and fun little cartoon.

That extends to the Christmas special too, which is one of the high points of the entire series – in my subjective opinion, naturally! I’m a total sap for the “Christmas is in danger, someone needs to save it!” plot cliché, and Phineas and Ferb: Christmas Vacation puts the series’ trademark spin on that familiar premise. It’s a lot of fun!

Perry and Dr Doofenshmirtz.

I never miss an opportunity to talk about Phineas and Ferb. The show finished its run in 2015, but last year returned for a one-off Disney+ original film, which was absolutely fantastic too. Unlike some of the other entries on this list, which I’ll happily rewatch on occasion, I return to Phineas and Ferb: Christmas Vacation every year without fail – something I’ve done for a decade now!

Phineas and Ferb: Christmas Vacation keeps the series’ trademark twin storylines – the boys and the other kids on one side, Perry the Platypus and Dr Doofenshmirtz on the other. Both stories come together in one connected narrative, but the show sticks to its two angles throughout – and what results is a story with moments of excitement, high drama, and emotion as the boys race to save Christmas.

Bonus:
Animal Crossing: New Horizons
Nintendo Switch (2020)

Promo for New Horizons’ Christmas event.

If you’re an Animal Crossing player, Christmas Eve is where it’s at! But throughout December it’s possible to buy special seasonal items, to see your island all decorated for the holidays, and to take note of what some of your island friends might want by way of gifts! The Christmas event is known as Toy Day in the world of Animal Crossing, and while it’s possible to ignore it and get on with your regular island life, it’s a bit of fun to play through these one-off events.

As December dawns on your island – at least if you’re playing on a Northern Hemisphere island – snow will start to fall. You’ll be able to build a snowman every day – and building the perfect one unlocks special ice-themed items. There are snowflakes to catch, which are used as DIY ingredients to craft new seasonal items too.

A wintery New Horizons island!

Later in December, Isabelle will announce that she’s decorated some of the island’s trees – but only the pine trees. When I played last year not every pine was decorated, but those that were looked adorable with their little festive lights! Shaking these trees also provided yet another crafting material which could be used to create holiday-themed items.

I’ve been critical of New Horizons for its longevity in particular, but there are few games that offer this style of gameplay. Last year I played through the Halloween, Thanksgiving, Christmas, and New Year events on my island, and I have to say I had a lot of fun with all of them. The Toy Day event on Christmas Eve (not Christmas Day!) is the kind of sweet Christmassy fun you’d expect from a game in the Animal Crossing series, and if you missed it last year it’s well worth playing through at least once.

So that’s it!

It’ll be the big day before we know it!

I’ve got a few more holiday-themed ideas for the website between now and Christmas – which is getting closer and closer by the day. I hope you like the festive banner and the little Santa hat on the website’s logo, too! I had fun messing around and putting those together.

There are lots of great festive films and holiday specials that I didn’t include on this list, so have a browse through the television listings or your streaming platform of choice. I’ll probably be checking out a mix of old favourites and new entries – there are always plenty of new holiday films every year. I’ve heard good things about 8-Bit Christmas this year, for example! I hope this list has been a bit of festive fun as we continue to get into a holiday groove!

All titles mentioned above are the copyright of their respective studio, distributor, broadcaster, streaming platform, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Discovery theories – week 3

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4, Star Trek: Picard Season 1, Short Treks, and for other iterations of the Star Trek franchise.

Although this week’s episode, Choose To Live, mostly stayed away from the gravitational anomaly – or the “DMA,” as Stamets is now calling it – we did get some theory-crafting ideas out of it! At such an early point in the season the story still feels wide open, able to go in potentially many different directions. Will tracking down and figuring out the DMA be the only main story of the season? Or will things take a turn as more information about the DMA comes to light? That’s perhaps the biggest question I have as things currently stand!

This week we had no theories confirmed and just one that was debunked. As always, we’ll start there and then move into the main list.

Debunked theory:
Gray’s transfer to a new body won’t be simple.

Gray awoke in a new body this week.

In episode 2, Anomaly, we heard from Adira and Dr Culber that the plan was for Gray to be given a synthetic body – just like Admiral Picard was at the end of Picard Season 1. Because this seemed to come at such an early point in the season, and because Gray’s story of being seen – and its allegory for being transgender – had been discussed a lot in the run-up to the season, I felt sure that it couldn’t possibly be so simple. But I was wrong!

In Choose To Live, Gray made it into his new synthetic body with relative ease. There was a moment midway through when the procedure seemed to be taking a long time, but by the end of the episode he was awake and able to exercise full control over his synthetic body.

The procedure was a success.

As I said in my review of Choose To Live, I felt that this story came too early in the season, and with too much of the work to get there having happened off-screen. It was also noteworthy that Stamets was entirely absent from this story, despite the deep bond he has with Adira in particular. I’m optimistic that Gray’s incorporation will allow him to take part in a wider range of stories both with and without Adira, and the emotional highs of Gray’s incorporation were very sweet. But at the same time, I admit to feeling a little underwhelmed at the fact that the story I was most interested in on a personal level only lasted three episodes before being wrapped up – especially considering that it barely featured in the first two.

So that theory was debunked.

Up next we’ve got the main theory list – and it’s divided into two parts. The first part of the list is comprised of theories that are either brand-new from Choose To Live or which the episode advanced somehow from previous weeks. The second part of the list contains the rest of my Season 4 theories – the ones that didn’t move at all in Choose To Live.

Theory #1:
The Abronians’ homeworld was destroyed by the anomaly.

Captain Burnham believes this image depicts a “supernova.”

After arriving at the Abronians’ cryo-ship, Michael Burnham found a stone carving that seemed to depict the destruction of the Abronians’ homeworld. This carving was only shown on screen briefly, but it seemed to show the planet being damaged or destroyed in a large explosion. Burnham credited the planet’s destruction to a “supernova,” and the story then raced ahead.

Considering that the main thrust of the season so far has been about the DMA, perhaps Burnham was incorrect: the Abronian homeworld was destroyed by the anomaly, not a supernova. I suspect we haven’t seen the last of the Abronians; Discovery loves to tell semi-standalone stories and then bring back elements from those stories later on, so we may yet come to learn more about the Abronians.

Theory #2:
The Abronians’ homeworld was on the “other side” of the anomaly.

The USS Discovery approaches the DMA.

One clip in the second Season 4 trailer appeared to show Captain Burnham leading the USS Discovery inside the DMA. We don’t yet know what that means, nor to what extent words like “inside” the anomaly or “the other side” of the anomaly are relevant. But many times in past iterations of Star Trek we’ve seen things like wormholes and gateways to parallel universes. Perhaps the anomaly is something similar – and passing through it leads to such a place.

One thing struck me as odd about the Abronians: the Federation was entirely unaware of them. Yet the Abronian cryo-ship was relatively close to Federation space – such that Captain Burnham could reach it using Book’s ship in a short span of time. It’s possible that the Abronians had been asleep for millennia, unnoticed by the Federation and the wider galaxy for all that time. But it’s also at least possible that their cryo-ship is a newcomer to the area. If so, perhaps it arrived here via the DMA.

Theory #3:
The Abronians will return to help the Federation later in the season.

A deceased Abronian.

One of the themes of Discovery since Season 3 has been connection: building connections between the Federation and its former friends. The Abronians were awoken from cryo-sleep thanks to the interventions of Captain Burnham and Tilly – at least in part – and they may seek to repay the Federation, or Captain Burnham personally, for that help.

We saw this play out last season with Ni’Var; in the season finale Ni’Var ships raced to the Federation’s aid as the Emerald Chain attacked. Perhaps the Abronians will likewise step up to help when the Federation needs allies.

Theory #4:
The Abronians’ moon-ship may be useful in a later story.

“That’s no moon…”

At this stage I can’t envision precisely what use Captain Burnham and the crew might have for a moon-sized starship… but that doesn’t mean such a need won’t arise! The Abronians’ cryo-ship is huge, and at least superficially seems to have the mass of a moon or small planetoid. If Captain Burnham and the crew needed something that large for some purpose, perhaps they’ll return and either take it or negotiate for it.

As we saw in Choose To Live, the moon-ship was in full working order. All it needed was some extra dilithium to power up and it was perfectly capable of moving under its own power, and its computer systems were still functional. The only system that seemed to have failed was the wake-up timer! So if – for reasons yet unknown – the crew need a huge starship, perhaps we won’t have seen the last of the moon-ship.

Theory #5:
Three ideas about Tilly.

Tilly in Choose To Live.

What’s going on with Tilly? Since the season began, and arguably toward the end of Season 3 as well, she’s been very unsettled and unsure of her role. Perhaps that’s a metaphor for the Discovery writers not knowing what direction to take her character – though I would argue that she’s well-placed to help out with such a scientific mystery! She even has experience with dark matter, as we saw in Seasons 2 and 3, so shouldn’t she be helping out Stamets?

Regardless, Tilly has talked about wanting to get outside her comfort zone and try new experiences. Perhaps her short tenure as first officer last season is part of what prompted her to do so. However, the question of her destination at the end of this arc has arisen. Will she try out a few new things over the course of the season and then settle back down again? Or will we see a more significant change for Tilly before Season 4 is over?

Theory #5a:
Tilly will change departments.

Captain Tilly?

The simplest solution to Tilly’s restlessness may be a career change. Having had a taste of command, perhaps she’ll want to retrain in the command division with a view to working her way back up to first officer or even pursuing her own captaincy. That would be one way to go. Perhaps she’ll want to move over to a medical field, using her scientific expertise to help people. Or maybe she’ll want to move into engineering, where she could focus on the practical side of running a starship. There are other possibilities too, of course – but I think we can rule out a role in security or tactical after Choose To Live!

Theory #5b:
Tilly will resign from Starfleet.

Tilly and Saru in Choose To Live.

We should be careful with this one. Last season, Michael Burnham was the character who seemed to be on an anti-Starfleet trajectory, having spent a year alone and away from the confines of the organisation. But after a couple of twists and turns she ended up recommitting to Starfleet and even assumed the captaincy of the ship! But that said, one possible end to Tilly’s arc could be that she’ll leave Starfleet altogether. Some of the sentiments she’s expressed seem to indicate that she feels adrift, very far removed from Starfleet and her own past. Reaching for help from friends and finding a way through whatever she’s going through is the most likely solution… but she could go down a different path altogether and resign her commission.

Theory #5c:
Tilly will be killed off.

R.I.P…

Sometimes when a character seems to lose their resolve it’s the writers’ way of signalling that it’s the beginning of the end. Adira has taken over not one but two of Tilly’s roles – at least in some respects. Tilly was once the baby of the crew; young and eager, fresh out of the Academy. Now Adira is in that role. Adira is also a great fit for scenes with Stamets in engineering, a role that Tilly had previously occupied. Perhaps Discovery’s writers feel that Tilly has done all she can, and that there isn’t going to be space for two functionally similar characters going forward?

Theory #6:
President Rillak knows what the anomaly is… and may be responsible for its creation.

President Rillak at the end of Choose To Live.

President Rillak is the kind of hard-nosed political pragmatist who seems to be willing to do almost anything if she believes it will advance the Federation’s objectives and ambitions. We saw that laid bare this week when she was willing to turn over J’Vini to the Ni’Var authorities, overruling both Admiral Vance and Captain Burnham because she believed the Federation’s best interests lay in wooing Ni’Var back into the fold.

This ties into something that I said last time: that President Rillak might know more about the DMA than she’s currently letting on. If the Federation had created a weapon like this, or it was an experiment gone wrong, covering it up might be her objective even if she wasn’t necessarily the one who ordered the DMA’s creation.

President Rillak seems willing to go to any lengths for the sake of the Federation.

We’ll consider in a moment a few other possible candidates for creating the DMA – if it turns out to be an artificial creation. But the Federation – and by extension, President Rillak – have to be possible contenders too. Season 3 of Discovery showed us the Federation at its weakest, but also arguably as an organisation that was still virtuous at its core. In contrast, we have Season 2’s depiction of Starfleet: reliant on the shady Section 31 and their AI. In short, it wouldn’t be unthinkable for Discovery to go back to that kind of presentation.

President Rillak herself 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.

So those theories are new or were advanced in some way by Choose To Live.

As always, for the sake of keeping everything in one place, I’ll restate my previous theories below. If you missed any of them last time, be sure to read the full list! If you’re all caught up, feel free to skip ahead.

Theory #7:
Captain Burnham and/or the Red Angel time travel suits from Season 2 are connected to the anomaly.

A Red Angel suit from Season 2.

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.

We don’t really know what happened to the suit after this moment.

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 #8:
Book will find Kyheem and Leto inside the gravitational anomaly.

Leto as seen in Book’s memory.

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 #9:
The gravitational anomaly is (or contains) a sentient life-form.

Season 2’s Sphere is an example of “life, but not as we know it.”

“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 #10:
Saru will be given the captaincy of the USS Voyager-J.

Saru played a supporting role in Choose To Live.

Saru’s future was briefly discussed before he offered to serve as Captain Burnham’s first officer in the episode Anomaly. 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.

The USS Voyager-J.

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 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 #11:
The gravitational anomaly is a superweapon.

One view of the DMA.

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 #11a:
The Borg are responsible.

A Borg 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 #11b:
The super-synths from Picard Season 1 are responsible.

Some very menacing-looking synthetic tentacles.

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. Finally, Discovery Season 4 has already made connections with Picard Season 1: the Qowat Milat and the synth transfer process used for Gray.

Theory #11c:
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 #11d:
The Sphere-Builders from Enterprise are responsible.

A Delphic Expanse sphere 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.

Theory #12:
A major character will be killed.

A Starfleet coffin 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.

Spock’s funeral 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.

We discussed above that Tilly’s recent change and the way she seems unsettled could be the beginnings of such an arc. For a breakdown of which characters I thought might be in danger before the season premiered, check out my list of “death predictions” by clicking or tapping here.

Theory #13:
There will be a character crossover from a past iteration of Star Trek.

Scotty was able to appear in The Next Generation… so anything is possible!

This theory returns from Season 3, where I doggedly clung to it for the entire season!

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 Chakotay be coming back?

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 #14:
Burnham won’t remain as captain.

Captain Burnham in Choose To Live.

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.

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 #15:
Kovich is an agent (or the head) of 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 – even though he’s yet to make an appearance. 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 #16:
The ban on time travel will be explained in more detail.

The Enterprise-E was able to travel through time.

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 #17:
The Federation has flouted the ban on time travel.

Might someone like Kovich have sought to get around the ban on time travel?

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 #18:
The story will connect with the Short Treks episode Calypso.

The USS Discovery 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 #19:
The crew will have to defend the Verubin Nebula.

The dilithium planet is vital to the Federation.

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.

Another view of the planet in the Verubin Nebula.

Season 4 has presented Captain Burnham and the crew with a scientific puzzle: the DMA. 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 #20:
Captain Burnham and the crew will encounter the Klingons.

Klingons seen in Season 2 of Lower Decks.

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 #21:
Some areas of the galaxy – such as the Delta Quadrant – avoided the worst effects of the Burn.

The USS Voyager traversed the Delta Quadrant.

Season 4 touched briefly on the Burn with Su’Kal and Saru in Kobayashi Maru, and may now seek to put last season’s story to bed so it can wrangle with the DMA instead. 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. To see a full write-up of this theory, click or tap here.

Theory #22:
The Guardian of Forever will be back.

The Guardian of Forever first appeared in The Original Series.

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 as we approach episode 4: All Is Possible.

The USS Discovery.

I think we’ve got an interesting crop of theories as we begin to get into the story of the season. In some ways Discovery caught me off-guard by taking Captain Burnham on a side-mission in only the third episode… but as noted above there are myriad ways that her encounter with the Abronians may yet come back into play!

I’ll be updating my theory list every week after publishing my episode reviews, so be sure to come back after All Is Possible has aired to see if we have any debunkings, confirmations, or brand-new theories to add to the list. I’m having a lot of fun getting back into the swing of writing my reviews and theories – I hope at least some of this has been interesting for you!

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.

A festive playlist to get you in the holiday spirit!

This time last year I put out my last holiday playlist. Whether this will become an annual tradition or not, who can say! But as we’re once again approaching the most wonderful time of the year I thought another playlist would be a lot of fun. There were so many songs I debated including last time but didn’t, so here’s an opportunity to talk about a few more of my festive favourites!

I’m an avid collector of Christmas albums, and I have been for years. Many albums, especially recently, seem to consist of the same handful of “traditional holiday favourites” in different variations, but every once in a while there’s a real gem amongst them. Sometimes these can be original songs, other times simply an original take on a classic Christmas tune.

Christmas is drawing near!

It’s been a long while since there was a proper race to the Christmas number one spot – at least here in the UK. Nowadays novelty songs or big hits by well-known stars dominate the charts, and the days when a truly festive Christmas song would attract a lot of attention seem to be fading! The music charts are less and less relevant, of course, as folks turn to streaming, but still it would be nice to get another year like 1973 – when Slade and Wizzard battled it out with duelling songs that were both spectacularly Christmassy!

All of the songs on the list below are embedded here courtesy of YouTube. If, for whatever reason, any of the videos are blocked in your country I daresay you can find the tracks via some other streaming service without too much difficulty. I hope you’ll take a look at last year’s playlist as well – you can find it by clicking or tapping here. You’ll find the aforementioned Slade and Wizzard Christmas hits there, as well as a few other favourites of mine. This playlist is “Part 2” – it’ll go very well with last year’s offering!

Now that the shameless plug is out of the way, let’s jump into the playlist!

Track 1:
Saviour’s Day – Cliff Richard (1990)

Saviour’s Day is the first holiday song I listen to every year. Its opening lines are the perfect way to kick off the festive season, as mainstay of British pop Cliff Richard sings “Now we have been through the harvest, winter has truly begun.” As the harvest season draws to a close, the clocks turn back, and the temperature drops, this is the first song I turn to – it perfectly encapsulates the season that lies ahead of us.

The song was Sir Cliff’s third Christmas number one in a row here in the UK – following 1988’s Mistletoe and Wine and Band Aid II’s Do They Know It’s Christmas? in 1989. The Beatles from 1963-65, the Spice Girls from 1996-98, and most recently YouTube sensation LadBaby from 2018-20 have also achieved the feat of three Christmas number one singles in a row! I’m not a religious person, so Saviour’s Day and its Christian slant wouldn’t be my usual kind of tune. But at this time of year I don’t mind a bit of religious imagery!

Track 2:
Do They Know It’s Christmas? – Band Aid 20 (2004)

So here’s a question that’s bound to generate controversy: which version of Do They Know It’s Christmas is the best? For me it comes down to a clash between the original in 1984 and the 2004 cover version, and it’s the latter that we’ll listen to on this occasion. While the original has its charms, I like the slower tempo and more modern instrumentation that Band Aid 20 used. This version of the song blends slow piano, an electric guitar solo, and even a rapped verse all into one – and it works.

Band Aid 20, like Band Aid before it, was a charity project. Raising money for people in less well-off countries is always a good cause, and the holiday season sees a lot of charitable activity. Do They Know It’s Christmas wasn’t the first charity song to top the charts, but it’s a fun song in its own right, with a short but sweet melody that has become synonymous with this time of year. Band Aid 20 produced a creditable cover version in 2004, and it’s one I’m happy to revisit at this time of year.

Track 3:
Christmas Is Starting Now – Big Bad Voodoo Daddy (2009)

This was one of several Christmas songs featured on the Disney Channel special Phineas and Ferb: Christmas Vacation. It’s an amazing Christmas song in its own right, and an original track written for the show. Big Bad Voodoo Daddy are a swing band, and the song uses their style in show-stopping fashion!

The song plays at the climax of Phineas and Ferb: Christmas Vacation, and the Christmas special needed a big number to fit the excited, uplifting tone of that moment. Big Bad Voodoo Daddy delivered – but the song is so good it seems almost criminal to relegate it to one moment on the soundtrack to an animated show! It should be a permanent fixture on Christmas playlists – and it has been on mine ever since I first heard it.

Track 4:
Lonely This Christmas – Mud (1974)

A year after Slade and Wizzard had duked it out for the Christmas number one spot here in the UK, Mud came along with another record that would go on to become a Christmas classic. Unlike the upbeat tone of the two Christmas contenders in 1973, Lonely This Christmas is a slower track that perfectly fits the sombre, reflective tone of its lyrics.

Lonely This Christmas is a very relatable song – I think many folks must’ve lived through “the Christmas after the one before;” that first Christmas after a big break-up, wondering what the other person is doing and looking back at happier memories from the year before. I know I’ve been there… raise your hand if you have, too!

Track 5:
A Spaceman Came Travelling – Chris de Burgh (1976)

This one has been on my festive playlist for decades… mostly for sentimental reasons. I have fond memories of a friend who adored this slow, melodic track, and while I freely admit it isn’t my all-time Christmas favourite, it’s the time of year when it’s nice – sometimes – to wallow in fond memories.

I like the lyrics of A Spaceman Came Travelling – it’s the kind of song that makes you stop and think. The premise is simple (and supposedly inspired by the 1968 pseudoscience book Chariots of the Gods) that the Star of Bethlehem was, in fact, an alien spacecraft. The benevolent alien would preach a message of peace… but presumably was misunderstood! The ’70s had quite a few of these New Age concept songs… but this one has a Christmas theme.

Track 6:
Good King Wenceslas – The Piano Guys (2013)

The Piano Guys are a YouTube musical outfit well-known for their instrumental covers of pop hits. In 2013 they put out their first Christmas album – and it’s a good one! There have been many covers of Good King Wenceslas over the years, including instrumental variations like this one. I don’t want to say this one is the “absolute best” – but it has to be up near the top!

The arrangement of the piece is beautiful, giving what can be a slow, droll Christmas carol an up-tempo reworking. The melody focuses on the piano – as you might expect – but there’s also a cello and percussion present. All in all, a wonderful and somewhat different rendition of a traditional Christmas classic.

Track 7:
364 Days To Go – Brad Paisley (2006)

Representing the country music genre we have modern country superstar Brad Paisley! In my opinion at least, the country music genre as a whole doesn’t always get it right at this time of year… too many samey covers of the same few Christmas hits! But once in a while there’s a fun original song, and Brad Paisley’s 364 Days To Go has to be among them.

The song’s premise is simple… Christmas has only just finished, and while it’s tempting to feel a little melancholic at the end of the season, if you think about it there really isn’t that long until the next one! I love this time of year, and the few weeks leading up to Christmas are beautiful – so it can feel a little sad as Christmas Day draws to a close. But Brad’s right – there’s only 364 days to go and we’ll be back here again!

Track 8:
Merry Xmas Everybody – Robbie Williams ft. Jamie Cullum (2019)

We’ve done it… this is the first cover version of a track that appeared on last year’s list! But wait, don’t skip ahead yet! I was truly surprised to enjoy a cover of Slade’s amazing Christmas hit Merry Xmas Everybody… especially a swing-inspired one! But Robbie Williams and Jamie Cullum put together a really fun rendition of the track.

This version feels different enough from the original to really feel like something new, and the swing elements fit perfectly with the up-tempo music and fun lyrics. When I saw this track on the album’s listing I almost skipped it… but I’m so glad that I didn’t. It’s well worth a place on anyone’s Christmas playlist!

Track 9:
In Dulci Jubilo – Mike Oldfield (1975)

The Piano Guys aren’t the only musicians to put together a very different instrumental version of a traditional carol! Mike Oldfield did it decades earlier, and his version of In Dulci Jubilo has become a holiday favourite. In 1975 it peaked at number four on the UK charts, but has made a comeback on compilations and holiday albums ever since.

Mike Oldfield is a multi-instrumentalist, and over the course of a long career has put together a number of instrumental pieces as well as songs. In Dulci Jubilo features an electric guitar and recorders playing the main melody, backed up by synthesisers, drums, and piano. It’s very difficult to put into words; it’s a unique piece of music, based on a traditional carol but taking it in a very different and unexpected direction.

Track 10:
Christmas Wrapping – The Waitresses (1981)

Christmas Wrapping wasn’t a rousing success for New Wave band The Waitresses either on its original 1981 release or its re-release the next year, peaking at a lowly 45th position on the UK charts. It was originally commissioned for a compilation album that likewise wasn’t a huge success in the early ’80s, but it’s been featured on a number of Christmas albums in the years since, and has seen its popularity rise as a result.

The song’s title is a pun: “wrapping” sounds a lot like “rapping,” and there had been a song a couple of years earlier called Christmas Rappin’. Lyrically, the song tells of someone with a busy life who thinks she’ll skip Christmas – only to re-encounter someone she’s interested in on Christmas Eve. If one of those corny made-for-TV Christmas movies was condensed into five minutes and twenty seconds… this is what you’d get!

Track 11:
It’s Beginning To Look A Lot Like Christmas – Michael Bublé (2011)

Michael Bublé has actually only released one full Christmas album, but he seems to have acquired a reputation of late as being a Christmas artist first and foremost! His cover of the 1951 hit It’s Beginning To Look A Lot Like Christmas is one of the best versions of the song that I’ve heard, sticking fairly close to the original arrangement to provide a sweet, familiar-sounding Christmas tune.

There have been many versions of It’s Beginning To Look A Lot Like Christmas over the years, including a few that take the song to different musical genres. Michael Bublé’s version is great, though, and makes the perfect backdrop to any Christmas party!

Track 12:
Merry Christmas – Ed Sheeran and Elton John (2021)

I debated whether to include this one because it’s so new… but it’s been on constant repeat in my house the past couple of days so I can’t help myself! This year, popular singer-songwriter Ed Sheeran has teamed up with Elton John for a Christmas single in aid of two charities. Merry Christmas is a fantastic Christmas song that draws on the very best of late 20th Century Christmas pop hits, mashing it all together into a simple, catchy tune.

The music video is hilarious, too. Featuring parodies of the likes of Walking in the Air, Shakin’ Stevens, Wizzard, and East 17’s Christmas hits – among others – it also features a number of celebrities and Christmas hitmakers of years past. Although it’s brand-new and has only been around for a couple of days at time of writing, I can already tell that Merry Christmas is going to become a permanent fixture on my Christmas playlist… staying there for as many Christmases as I have left!

So that’s it!

But don’t forget to go back and listen to last year’s playlist too – you can find it by clicking or tapping here. Once again we’ve put together a somewhat eclectic mix of different genres and styles, but I hope it’ll make the perfect backdrop to your Christmas party. For the second year in a row we’ve managed to avoid Wham! and Mariah Carey… but how long can we keep that up?

2021 has been a difficult year for all of us, and it’s years like this where we need the holiday season more than ever. Whether you’re able to spend Christmas with family and friends, or whether you’ll be chilling out alone, I hope you find some comfort and enjoyment in some of these songs. I find that listening to Christmas music can be a great way to relax and take my mind off things at this time of year.

Stay tuned for more Christmas-themed content here on the website between now and the big day!

All songs on the playlist above are the copyright of their respective record company, studio, distributor, composer, etc. All videos courtesy of YouTube. Videos are merely embedded here, and are not hosted on 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.

Star Trek: Discovery review – Season 4, Episode 3: Choose To Live

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-4. Spoilers are also present for Star Trek: Picard Season 1.

When we saw the first few episode titles for Discovery Season 4 a few weeks ago, I completely missed something huge. “Choose to live” is a Qowat Milat saying, a phrase used by Elnor in Star Trek: Picard Season 1 last year. That was an oversight on my part, and meant that my original analysis of the episode before the season premiered was way off-base. Oops!

Although Discovery Season 4 is now available on Paramount+ in Australia, Latin America, and Scandinavia, and in western Europe and a few other regions via Pluto TV, or to purchase via iTunes, Google, and Amazon, there are still too many Star Trek fans unable to watch the new season of the show. Fans in countries and regions that ViacomCBS believes don’t exist still have no (official) way to access the season, and with the painfully slow rollout of Paramount+ also skipping over large swathes of Africa, Asia, and other parts of the world, that’s very disappointing. In my own small way, I’ll continue to point this out and call on ViacomCBS to do more to fix this problem and bring Star Trek to every fan around the world.

Captain Burnham at the beginning of the episode.

Choose To Live feels like a mid-season episode. It advanced the season’s main gravitational anomaly storyline in a pretty minor way, but in its place gave several different characters episode-long storylines that may or may not connect to the season’s ongoing themes. There are some nitpicks that we’ll get into, particularly surrounding one of the main story elements, but overall Choose To Live was a solid episode with some deeply emotional moments and throwbacks to past iterations of Star Trek. With its three concurrent storylines, I even felt it was structurally similar to episodes of Lower Decks!

As someone who’s spent decades struggling with my own gender identity, it’s really only in recent times that I’ve felt comfortable to be open and “out” as non-binary. Thus it was Gray’s story that perhaps intrigued me the most on a personal, character-scale level as Season 4 approached. We were promised that Dr Culber, Stamets, and Adira wouldn’t forget about Gray, and that his quest to be “seen” would succeed.

Gray watches his new synthetic body being constructed.

I’m absolutely thrilled to see Gray in a corporeal body for the first time. The scene with Gray customising his synthetic body in last week’s episode was absolutely the episode’s emotional high point, leaving me in tears, and I was hoping to see Choose To Live continue that trend. But something about Gray’s story this time felt… rushed. And although it was supported by amazingly emotional performances by Wilson Cruz, Ian Alexander, and in particular Blu del Barrio – who put in their best performance in Discovery so far – I actually felt that something was missing.

It was only when Adira beamed aboard the KSF Khi’eth in the Season 3 finale that Gray was able to be seen by anyone other than Adira. The end of that episode kicked off Gray’s quest to become corporeal again, fully confirming that Gray is indeed “real” and not a figment of Adira’s imagination. The first episode of Season 4 didn’t really feature any part of Gray’s quest, and we got one scene last week; a wonderful scene, but a single scene. And then this time, across several deeply emotional sequences, but in an episode that was packed with other storylines running at the same time, Gray’s quest has already come to an end.

Gray’s quest to be seen has concluded.

Gray’s invisibility had been an analogy for how many transgender people – and I would posit from my own experience, many non-binary people too – feel invisible, either ignored by the world or having to hide our true selves from it. Overcoming that, and finally feeling free to openly live one’s life is not a fast or easy process, and as much as I respect Discovery for putting together a story like this, the way it concluded so early in the season has left me feeling a little hollow.

Firstly, Stamets had no involvement at all – despite being a big part of Adira and Gray’s family. Stamets has had precisely one scene with Adira so far this season, a blink-and-you’ll-miss-it moment in the premiere. It was great this week to see Stamets away from Discovery’s engineering lab for once; his being on Ni’Var was fun to see and another emotional story. But it was also noteworthy that he was absent not only from the scenes featuring Adira, Gray, and Dr Culber, but from their story as well.

Stamets was entirely absent from this story – even though it’s a huge moment for his family.

Here’s what I mean by that: Dr Culber didn’t mention Stamets. Adira didn’t mention Stamets. Gray didn’t mention Stamets. And Stamets didn’t mention any of them – not even a throwaway line about how he was nervous for Gray or upset to be missing such a big moment. He didn’t hesitate about going on the mission; his only moment of pause before going to Ni’Var was thinking about Book and how to spare him from reliving the trauma of Kwejian’s destruction.

Maybe all of this will play into some other storyline as the season runs along. I could foresee, for example, Dr Culber delivering a gentle rebuke to Stamets for getting so lost in his work that he didn’t even check in to see how things were going with Gray and Adira. But I could also see Discovery rushing right past all of this, setting the various characters on different paths and dropping them into different stories as the season rolls on.

Adira and Dr Culber waiting to see if the procedure will succeed.

I don’t want the show to turn something beautiful – Gray’s incorporation – into some kind of Stamets-Culber relationship drama. We had too much of that in Season 2 – and frankly, it did not work. But the show should try to acknowledge, somehow, what’s going on. Think about it this way: if you sat down to watch Choose To Live knowing nothing about Discovery, you wouldn’t know Stamets and Culber even knew one another, let alone are married. You wouldn’t realise that the connection between Adira and Stamets developed first; that Stamets had to tell Adira that he and Culber come as a “package deal.”

For a story about someone becoming whole again… an important person, part of their family, was missing. And combined with the fact that this storyline didn’t run as long or as deep as I might’ve expected it to, I’m left feeling a little empty at its conclusion. I’m absolutely thrilled by the prospect of Gray finally being able to interact with the rest of the crew, and to perhaps offer his services during future missions or playing a role in different stories. And when you pull Gray’s story back to his appearances in Season 3, we did get quite a lot of his invisibility. But I can’t shake the feeling that the entire thing has been shuffled out of the way a little too quickly so that Discovery can race ahead to other stories that it wants to tell.

Stamets’ absence from this story was noticeable.

In a similar way, we talked last week about how much of the work that Captain Burnham and the crew of Discovery had been doing to restore the Federation seems to have happened off-screen. We caught a glimpse of it at the beginning of the season premiere, but then the anomaly story took over. Likewise with Gray – much of the actual work involved to get to this point seems to have taken place off-screen, in the months between the Season 3 finale and the Season 4 premiere. I tried to argue last time that seeing the Federation being restored at a slower pace would have been absolutely worthwhile – and so it is with Gray. We saw the culmination of a longer process, but it would have been nice to see more of the process itself, partly because it’s interesting sci-fi and partly because it’s an analogy for something significant here in the real world.

Before we wrap up the Gray storyline, I want to again point out how outstanding Blu del Barrio was in Choose To Live. I’d enjoyed what del Barrio brought to Discovery in Season 3, but Choose To Live gave them an opportunity to show off a fantastic emotional range, and they absolutely nailed it in every single scene. I went on a rollercoaster with Adira – the anxiety and nervousness as the procedure began, fear and regret when Gray seemed lost, then relief and joy when Gray finally awoke. Blu del Barrio put in the best performance of the season so far, showed off their range as an actor, and made these sequences feel incredibly emotional. Despite my criticism of the somewhat rushed feel to the Gray storyline overall, Blu del Barrio’s performance elevated it and made it so much better than it otherwise would’ve been.

Blu del Barrio put in an outstanding performance this week.

Star Trek as a franchise is full of plot contrivances; story moments that don’t feel genuine because of some inconsistency or other. Some contrivances are bigger than others, though, and on Captain Burnham’s side of Choose To Live we ran into a whopper. I can believe, for the sake of the story, that J’Vini was unable to trust the Federation. After all, in the post-Burn galaxy, trust seems to have been difficult to come by, and Ni’Var isn’t a Federation member. But what feels so incredibly contrived in this storyline is that J’Vini was so unwilling to trust other members of the Qowat Milat that she was prepared to kill one of her own sisters.

If J’Vini was leading some rogue Qowat Milat splinter group, I guess we could argue that perhaps there’d been some kind of split within the order or something. But it was made crystal clear that J’Vini had hired mercenaries as part of her quest to defend the Abronians and their cryo-ship. It simply doesn’t make sense that J’Vini – a proud member of this ancient order – would trust mercenaries when she was unwilling to trust her own sisters, especially considering the stakes, and I find this particular aspect of the story to be incredibly contrived.

J’Vini’s story felt rather contrived.

The contrivance didn’t ruin this storyline, but it certainly detracted from it in retrospect. Looking past all of that, however, we got a genuinely fun adventure romp, one which took Captain Burnham away from the anomaly for a side-mission that, as things stand at least, feels disconnected from the overarching story of the season. In that sense, this part of Choose To Live feels a lot more like the episodic Star Trek stories of The Next Generation’s era. If you removed the Qowat Milat and Captain Burnham from this story, I could easily see it being one for Captain Picard and the crew of the Enterprise-D to have tackled!

It was great to welcome back Sonja Sohn as Dr Gabrielle Burnham. I stand by what I said in Season 3, though: the choice to make Dr Burnham a Qowat Milat nun still feels odd! The connection between J’Vini and Dr Burnham was perhaps less developed than it could’ve been; aside from a couple of lines of dialogue, we didn’t really get to see much evidence of their supposed closeness. J’Vini was, according to Dr Burnham, the Qowat Milat nun who nursed her back to health after her arrival in the 32nd Century… but I didn’t really feel that connection; the story seemed to rush past it.

Dr Gabrielle Burnham returned for a Qowat Milat story.

Dr Burnham’s line about how context matters when considering J’Vini’s actions was an interesting one – and it’s a notion that Discovery has tackled before. Context is for Kings was the title of the third episode of Season 1, and that episode began the slow process of rehabilitating Michael Burnham as a character after her failed mutiny attempt. Dr Burnham compares her support for J’Vini to Michael’s support for Spock in Season 2 – and Michael really doesn’t have a leg to stand on in arguing the point!

Tilly was a welcome addition to this side of the story, too. She got a great moment with Saru, sharing her feelings of loneliness, anxiety, and homesickness that she briefly talked about with Captain Burnham in the premiere and with Dr Culber last week. She got more of a chance to talk with Saru, and he tried to help both by giving her access to his plants, but most significantly by recommending her for the mission.

Tilly and Saru make for a great character duo.

Saru and Tilly make a wonderful pair – something Discovery’s writers found out at the beginning of Season 3. Because they’re such contrasting characters in terms of age, temperament, and even appearance, they don’t necessarily seem like a natural pairing. That may be why Seasons 1 and 2 didn’t feature a great deal of Saru and Tilly together. But their differences complement each other.

Saru has a great deal of faith in Tilly’s abilities – something he made clear in Season 3 when he named her as his temporary first officer. This confidence from someone senior, and someone she clearly respects, gives Tilly a boost of her own, and we saw that play out again this week. I think we can all relate to wanting to step out of our comfort zones – as Tilly does on the away mission – so her inclusion in this story was a great idea.

Tilly stepped far outside her comfort zone this week.

Tilly and Burnham also make for a great duo, and we got to see some of that on the away mission too. Ever since they came together early in Season 1, they’ve established a firm friendship and an intuitive way of working together. Tilly trusted Burnham even when she was told she’ll be “bait,” and I think that’s something significant. Tilly had often been seen as a kind of fearful or anxious character – so to put her faith in her commanding officer in such dangerous circumstances and execute a complicated plan was positive and uplifting to see.

We’ll have to cover this in more detail in this week’s theory post, but I think there’s more going on with the Tilly situation than meets the eye. Since the beginning of the season – and arguably toward the end of Season 3 as well – she’s had this unsettled, almost restless feeling that many people who’ve experienced anxiety can probably relate to. But whether that can be resolved through counselling and talking with friends like Saru is an open question at present. Saru gave Tilly the opportunity to get out of her comfort zone this week – but will she seek to permanently get outside of her comfort zone? And if so, what form might that take?

Tilly and Captain Burnham watch the Abronians colonise their new homeworld.

Captain Burnham took the initiative on this side of the story, figuring out what had happened to the Abronians and how to help them. As mentioned, I liked this story as it definitely had a Next Generation flair to it. The design of the Abronians as a non-humanoid race was also exceptionally neat, and I kind of wish we could’ve seen more of them – but perhaps we will! This is another point I’ll pick up in this week’s theory post, but I suspect that the Abronians have some kind of connection with the gravitational anomaly.

Did anyone else feel that Dr Burnham’s “this isn’t a moon” line had the faintest echo of Star Wars? I surely did! The revelation that the moon base was actually a giant starship was pretty neat, and its stone engines, carvings, and computer interfaces were well-designed and contributed to the feeling that Burnham and co. were inside a tomb or other ancient structure.

The Abronians’ moon-ship made great use of stone to feel ancient and otherworldly.

While we’re talking about designs, the beginning of the episode showed off a brand-new starship: the USS Credence. The Credence has a fantastic design, incorporating elements from several prior Starfleet vessels. I felt I could see callbacks to the Oberth-class and Constellation-class in particular through the alignment of the ship’s body and nacelles. It felt like a 24th or 25th Century ship in some ways – it wouldn’t have looked terribly out-of-place in the Dominion War or in the armada seen in the Picard Season 1 finale!

The ship’s internal design, however, is another matter. I freely admit that this feels like a nitpick, but when I sat down to watch Choose To Live, my sense of immersion was immediately knocked off-course by the fact that the USS Credence’s interior was a barely-disguised USS Discovery. Discovery has, on a couple of occasions, shown us some pretty poor set redresses. The Ba’ul prison cell in Season 2 was so obviously the transporter room set that it was painful – and here, in Choose To Live, we get a sequence supposedly taking place aboard the USS Credence that was clearly just the USS Discovery hallway set. I can’t even charitably call it a “redress” of the set, because basically nothing had changed. Would it have been difficult or expensive to create something at least slightly different to represent the dilithium chamber or cargo bay of the USS Credence? Doing so would have made this sequence so much more enjoyable.

The USS Credence.

Back on topic, and it was another somewhat contrived situation that J’Vini’s whole plan for stealing dilithium and murdering people was basically for the sake of stockpiling it “just in case.” That’s a somewhat timely message, perhaps, given the panic-buying and stockpiling we’ve seen during the pandemic! But it felt a little forced considering that her plan was basically to just sit aboard this cryo-ship and wait for the Abronians to awaken. Did she bother to investigate their computer system at all? It took Captain Burnham barely five minutes to figure out that the Abronians should’ve woken up already! Simply using logic and analysing the situation – even assuming J’Vini had zero computer skills – should have told her that they’d arrived at their destination and could be safely woken up.

However, setting the contrivances of the story aside, it was neat to see Captain Burnham and Tilly working so well together to solve the puzzle and help the Abronians awaken. Seeing them depart their moon-ship to colonise a new world was a powerful moment, and everyone involved – J’Vini, Dr Burnham, Captain Burnham, and Tilly – all played roles in ensuring it could happen. Saving an entire race from what could’ve been extinction is a huge victory, and Choose To Live played it well – even though it was taking place in the context of a smaller, character-focused story.

Captain Burnham helped save an entire race from the brink of extinction.

The way this story concluded was interesting, and I think it shows a pragmatic side to President Rillak that may come into play later in the season. She was willing to turn over J’Vini to the Ni’Var authorities because she believed that doing so was a gesture of friendship that may help sway Ni’Var into rejoining the Federation. Putting the big picture first – or the “needs of the many,” to use a Star Trek quote – was something Captain Burnham didn’t like to see in this instance, but it’s another example of President Rillak being on a different course from Burnham.

It seems clear that Ni’Var will indeed rejoin the Federation at some point this season, which will be great to see. So President Rillak’s politicking will probably pay off – but as Captain Burnham reminded her, it doesn’t come free, and the price in this instance was Federation justice being applied in J’Vini’s case. The hard-nosed political pragmatism of President Rillak makes her a very interesting character – not always playing fully on Burnham’s side, but thus far never as a direct antagonist either. She has her reasons for doing what she does, and she doesn’t care too much if Admiral Vance or Captain Burnham disagree with her. She’s confident in her authority and her decision-making – and I can’t wait to see how that plays out as the season progresses.

President Rillak is a fantastic, well-written character with genuine depth.

That brings us to Stamets and Book’s away mission to Ni’Var. As mentioned, it was great to see Stamets away from Discovery’s engineering bay; it seems like he spent most of Season 3 down there! And after last week, pairing up Book and Stamets again was a good idea. Discovery seems to have found a character pairing it likes in Book and Stamets!

What we saw with this Ni’Var story is the scientific method playing out. Stamets had a theory: that the anomaly is a “primordial wormhole.” He presented his theory to the Ni’Var scientists, who analysed it using their technology and meditative method. But it turned out to be wrong – something Stamets seemed to be fighting against, but arguably must’ve felt was a possibility. We’re still no closer to understanding the anomaly, but it’s another theory that Stamets can cross off his list.

The Ni’Var Science Institute debunked another of Stamets’ anomaly theories.

The interaction between Book and T’Rina was neat to see. Both Kwejian natives and Vulcans are, as T’Rina pointed out, emotional, empathic races. But they take completely opposite approaches to emotion: Kwejian natives draw on it, Vulcans try to suppress it. Book couldn’t learn Vulcan discipline as a way to overcome his grief, but by reliving his last moments on Kwejian he got a kind of cathartic emotional release.

It was painful to relive those memories with Book, and David Ajala put in a wonderfully complex performance. Book is feeling almost unimaginable grief – not just for his family, but for his whole race. Losing one’s home and family would be difficult and painful enough, but to be left as one of the few survivors of his people is something difficult to fathom. David Ajala brought those feelings to screen in an understandable way, and keeping the focus primarily on Book’s family – and his nephew in particular – gave focus to this deeply emotional story.

By reliving his memories, Book found some measure of peace.

Book is moving through the grieving process, and helped by his time on Ni’Var has now moved on, ever so slightly, from where we saw him last week. As Captain Burnham remarked at the end of the episode, he was able to do something – watch a holographic recording of Kwejian – that would’ve been too painful a few days earlier.

So that was Choose To Live. The main thrust of the season’s story was sidelined for the most part as Stamets saw another theory fall down. However, Captain Burnham got her own mission, one which felt like a throwback to past iterations of Star Trek in the best way possible. The return of Dr Burnham and the Qowat Milat was fun, and we got some great character moments with Saru, Tilly, the Burnhams, Book, Stamets, Gray, Dr Culber, and Adira.

Gray and Adira at the episode’s climax.

My only real criticism of Gray’s storyline is that I had expected Discovery to make more of it. The outcome was pitch-perfect, and what I think we had all hoped to eventually see. But there’s a feeling I can’t shake that this story concluded too early in the season – too soon after the events of That Hope Is You, Part 2 had kicked it off. Much of the legwork of figuring out how to help Gray – and his own agency over helping himself – seems to have happened off-screen in between Seasons 3 and 4, just like the dilithium deliveries and Federation rebuilding work. That might be fine… but it depends what happens next, and whether the stories yet to come in Season 4 can compensate for not seeing those things play out.

In Season 3, what I loved most about Adira’s story was that their coming out moment to Stamets was so low-key. Being non-binary in the 32nd Century shouldn’t be a big deal, and that moment captured the kind of optimistic tone of Star Trek’s future absolutely perfectly. Gray’s incorporation was always going to be more complex because of the technobabble side of things, but that gave it the potential to perhaps take into account the false starts and complex emotions that transitioning and coming out can elicit. Some of that was present in Choose To Live, and the payoff to that story was deeply emotional. But I can’t shake the feeling that it happened very quickly, and at a very early stage in the season. Perhaps Gray will go on to play a significant role now he can interact with everyone else – and that will be fantastic to see. I’m optimistic about future storylines… but also a little underwhelmed that the story I’d been most excited for has already concluded after a mere three episodes.

Next week we’ll be watching All Is Possible – and I have no idea what it could be about! Perhaps a return to a story all about the anomaly is on the cards after it took a back seat this week. In any case, I hope you’ll stay tuned for my updated theory list between now and Thursday and another review after I’ve seen All Is Possible 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, Google Play, 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.

Did bad timing kill the Section 31 series?

Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 1-3.

The Section 31 series is currently stuck in that nebulous zone that industry insiders refer to as “development hell.” Despite having been officially announced almost three years ago and supposedly having scripts written, at time of writing it’s been a very long time indeed since we heard anything close to official about the series.

I last took a look at the Section 31 show’s prospects back at the end of April, and since it’s been a while I think we should briefly recap why I feel increasingly sure that the project isn’t going ahead.

After a deeply underwhelming reaction to the Section 31 show’s announcement in 2019, Discovery’s second season premiered – and fans immediately fell in love with Captain Pike, Spock, and Number One. Calls for Pike to be granted his own spin-off eventually led to the development of Strange New Worlds. After Strange New Worlds was officially announced, we began to hear rumblings about the Section 31 series potentially being reworked. For a show that had supposedly been ready to go and on the verge of beginning official production for more than a year, news in 2020 that scripts were being re-written did not sound good.

Has the Section 31 show been quietly cancelled?

Alex Kurtzman – the head of Star Trek for ViacomCBS – later dropped a significant bombshell: that there were no plans for any new Star Trek series to enter production until one of the current shows has concluded. With Discovery, Picard, Lower Decks, Prodigy, and Strange New Worlds all being worked on at that point, Kurtzman said that no other shows would enter production until at least one of those had finished its run. We later heard from the Section 31 show’s co-creators that they were “still having conversations” about the Section 31 series – which sounds an awful lot like industry speak for a project on life-support.

Back in April we heard from Michelle Yeoh – Empress Georgiou herself – on The Pod Directive, Star Trek’s official podcast. It’s important to keep in mind that The Pod Directive is an official production, not a fan-made one, because if Yeoh had been interviewed by literally any Trekkie in such a format, the question of the Section 31 show’s future would certainly have come up. It didn’t – and Yeoh could only speak in very vague terms about hoping to “one day” return to the role of Georgiou.

Michelle Yeoh appeared on Star Trek’s official podcast earlier this year.

Months later and we still haven’t heard anything about Section 31. Shazad Latif, who played Tyler in Discovery’s first two seasons, suggested that there had been unofficial chats about the show earlier this year – but again, that hardly sounds positive. At Star Trek Day back in September, Alex Kurtzman teased that a Starfleet Academy series may be in the very early stages of being worked on, which could mean that it’ll be the next project for the Star Trek franchise. In contrast, the Section 31 series wasn’t mentioned at Star Trek Day at all.

Let’s assume for now that the combination of no official announcements and a slow trickle of bad news does in fact mean that the Section 31 show isn’t going to happen. The question is why? What might’ve caused a rethink over at ViacomCBS and convinced the corporation to invest its time and money elsewhere?

Alex Kurtzman is in charge of the Star Trek franchise.
Photo Credit: Gage Skidmore, CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0, via Wikimedia Commons

It isn’t as simple as saying “Captain Pike.” It’s true that the fan response to Pike (as well as to Spock and Number One) absolutely stole the Section 31 show’s thunder in 2019, but that can’t be the full story. It is very interesting to note, though, that the support for Captain Pike from Discovery fans and viewers seemed to catch ViacomCBS completely off-guard. Did they not realise, during production on Discovery Season 2, that they had something special on their hands with Anson Mount and Ethan Peck? If not, why not?

Perhaps it’s true that ViacomCBS was only willing to greenlight one Discovery spin-off in 2019, and if that’s the case it was patently obvious within a couple of episodes which character fans were clamouring to spend more time with – and which they weren’t. But in 2019 ViacomCBS was practically throwing its money around, working on Star Trek projects left, right, and centre. It doesn’t make sense to say that there was only enough money in the kitty for one spin-off – and if fans liked both Georgiou and Pike, why not go ahead with both projects?

Anson Mount as Captain Christopher Pike.

The build-up to Discovery Season 2 came in the wake of the surprise announcement of Star Trek: Picard. Many Trekkies were incredibly excited to revisit the 24th Century and see the next chapter of Picard’s life, and there was a great deal of buzz and excitement surrounding Picard Season 1. As I argued at the time, a Discovery spin-off in the 23rd Century almost felt like a regressive step in comparison; many fans were excited to see the Star Trek franchise’s overall timeline move forward again for the first time in eighteen years – Section 31, being set in the 23rd Century, felt like a backwards step.

The intention behind announcing the Section 31 series prior to Discovery Season 2 was twofold: partly to drive subscribers to what was then still called CBS All Access, reminding folks that a new season of Star Trek was coming, but also to reaffirm the corporation’s commitment to Star Trek as a brand and Discovery as a series in the wake of a somewhat controversial first season. As Season 1 was rolling on, there were an increasing number of anti-Star Trek social media groups popping up, and one commonly-heard refrain in 2017, 2018, and into 2019 was that Discovery was about to be cancelled. This story, by the way, still does the rounds in those same groups in 2021, despite the show now being into its fourth season!

The timing of the Section 31 show’s announcement was intended to provide a boost to CBS All Access.

There was a need for ViacomCBS to try to bring in more subscribers, and there was also a need to do something to demonstrate that the corporation still had faith in Discovery and the broader Star Trek franchise. Shutting down some of the anti-Trek hate wasn’t the main reason, but it may well have been a factor in the decision-making.

So in January 2019, as Discovery’s second season drew near, we got the announcement of the Section 31 series. But rather than the positive response ViacomCBS was hoping for, reaction to the news was muted at best – and disagreeable at worst.

I was one of many Trekkies left underwhelmed by the concept of the Section 31 series at that time. Michelle Yeoh is an outstanding performer, don’t misunderstand me for a moment. But her character of Empress Georgiou was someone who was fundamentally uninteresting – at least she was as of the end of Discovery Season 1. Remember that the Section 31 show was announced before a single Season 2 episode had aired, and long before Georgiou got some much-needed character development in Season 3.

Georgiou changed a lot over the course of Season 3 in particular.

Imagine, for a moment, that the Section 31 show had been announced last December – in the days following the broadcast of Terra Firma, Part 2. How much more excited and interested might fans have been then than they were in January 2019? I think we all know the answer to that question.

The Mirror Universe and its Terran inhabitants can be fun, and even though I freely admit that the Mirror Universe is far from my favourite Star Trek setting, I can appreciate what it brings to the table. But the Mirror Universe has only ever been the kind of over-the-top pantomime fun that I can enjoy for a single episode at a time. Terrans are basically all the same: violence-loving sociopaths. They make Prime Timeline Klingons look positively tame thanks to their gratuitous use of violence and torture, and there’s never been any demonstrable room for character depth or nuance.

The best Mirror Universe character, aside from Georgiou herself, was probably Mirror Spock way back in The Original Series. Deep Space Nine tried, to its credit, to tell some different Mirror Universe stories about enslaved Terrans and a Klingon-Cardassian Alliance – but the Alliance fell into many of the same thematic and storytelling traps as the Terran Empire had.

Aside from Georgiou, Mirror Spock is one of the few nuanced and interesting Mirror Universe characters.

In short, Mirror Universe characters are uninteresting at best. At worst, as we see far too often across different Star Trek shows (including Discovery) they’re pathetically ridiculous. A combination of poor scriptwriting and a one-dimensional setting encourages even great actors like Sonequa Martin-Green to ham it up and put in performances that wouldn’t be out of place in a primary school play. At the end of Discovery Season 1, there was nothing at all to indicate that Empress Georgiou wasn’t the same kind of bland, uninteresting Mirror Universe villain as characters like Intendant Kira or Mirror Kirk.

Unlike many other Terran characters, I never felt that the acting performance put in by Michelle Yeoh was over-the-top. Some Mirror Universe performances – such as Mirror Kirk in The Original Series and Mirror Burnham in Discovery – are so truly awful that I find them borderline unwatchable, as the Mirror Universe setting seems to trick even competent performers into forgetting how to act. Badly-written scripts and a setting that doesn’t lend itself to anything but pantomime don’t help, of course. But I felt, to Michelle Yeoh’s credit, that Georgiou managed to avoid falling victim to the worst tropes of the setting. Even so, that didn’t make the way the character was presented at the end of Discovery’s first season a net positive going into the announcement of the Section 31 series.

Some Mirror Universe performances are excruciating to watch…

In Discovery’s first season, we saw first-hand how Georgiou ruled the Terran Empire with an iron fist. She subjugated aliens – including Saru’s people, the Kelpiens – and ensured they were second-class citizens at best, slaves at worst. She killed indiscriminately and had no qualms whatsoever about destroying entire planets or exterminating entire sentient races. Some fans (and non-fans) derisively termed Georgiou “Space Hitler” as a result. And this was the point at which ViacomCBS announced a new series with this character as its lead.

I never liked the term “Space Hitler” to attack Georgiou… but I confess that I understand why some fans felt it was an appropriate descriptor in Season 1. It encapsulates Georgiou as a dictator, as a violent sociopath, as someone willing to inflict some truly evil actions upon the galaxy, and as someone who governs a state with a pro-human, anti-alien philosophy. It’s not an expression I would use; it’s offensive, crass, and deliberately provocative. It’s also a pretty crude analogy, but I get where it came from.

Georgiou committed many atrocities while ruling the Terran Empire.

Think for a moment about Georgiou’s actions in Season 1. In her first appearance, she insists that Burnham and the crew “bow to their emperor,” then proceeds to feed Kelpien meat to Burnham a couple of episodes later. After being dethroned as Emperor and brought to the Prime Universe by the crew of the USS Discovery, she teams up with Admiral Cornwell to destroy the entire Klingon homeworld. Why? Does she suddenly care about the Federation and want to see it preserved? No: she likes killing, she likes violence, and she saw an opportunity to commit genocide and just went for it.

We began to see indications in Season 2 that Georgiou had a softer side, particularly when it came to Michael Burnham. At one point in the episode The Red Angel (unfortunately the season’s worst) she wanted to cut short a dangerous assignment when Burnham’s life appeared to be in danger. But it wouldn’t be until Season 3 – and really not until midway through the season – that any significant softening of Georgiou’s hard Terran exterior would be readily apparent.

Georgiou was rather partial to roast Kelpien in Discovery’s first season.

Terra Firma went a long way to changing how I felt about Georgiou – as I’m sure it did for many other fans as well. We saw nuance in her characterisation for the first time – a sense that there was more to her than just violence and psychopathy for their own sakes. She expressed empathy for the first time, being unwilling or unable to carry out some of the violent actions that her role as Empress would have required of her. The changes she attempted to make to the way that the Terran Empire was governed ultimately led to her “death” within the Guardian of Forever’s portal – and proved to the Guardian that she was deserving of a second chance. I would argue that it was this episode that also demonstrated to us as the audience that Georgiou was deserving of a second look, too.

Georgiou needed Terra Firma to really come into her own as a character – especially a character that a new series was going to focus on. It wasn’t until we saw her returned to the Terran Empire – or the Guardian’s approximation of it, at any rate – that we could appreciate how living with the Federation had changed some of her opinions and attitudes. For example, Season 1 Georgiou would happily eat Kelpien. But by the time Terra Firma rolled around she’d come to value, in her own way, Saru as a person and even as a leader.

Georgiou had come a long way from eating Kelpien to arrive at this moment.

As the audience, we needed to see all of that before we could conceivably commit to a series starring this character. In hindsight it’s easy to say that the Section 31 series was a good idea, because I have to assume that the writers and producers already had some kind of an outline in mind for this story. At the very least they’d have known Georgiou’s destination; the culmination of her arc across Discovery’s first three seasons. But none of that was apparent to us as the audience at the end of Season 1.

Had Section 31 been announced not in January 2019 but December 2020, I think we’d have seen a far more positive and excited reaction to the new show. But ViacomCBS jumped the gun, trying to boost Discovery and CBS All Access without, perhaps, fully thinking through what the show’s actual prospects were or what the reaction from Trekkies might be. It wouldn’t be the last time that the corporation would mangle its handling of the Star Trek franchise, unfortunately.

Had the Section 31 show been announced at this point, not almost two years earlier, the fan reaction would likely have been very different.

ViacomCBS’ biggest failing when it came to Discovery’s second season is, I would argue, not realising how strongly fans would feel about Pike, and how much excitement there would be within the fandom for a Pike spin-off. If they’d realised that – and with hindsight it should’ve been obvious, especially considering these shows are almost always shown to audiences at test-screenings before they premiere – then perhaps the Section 31 announcement would’ve been held back, and Strange New Worlds could’ve been announced either during or shortly after Discovery’s second season.

Because of issues with Georgiou’s characterisation, prior to Season 2 was a bad time to announce the Section 31 series. The fact that the series is based around Section 31 – an organisation that fans have often indicated that we’d like to see more of – got completely buried by the announcement that Michelle Yeoh was going to headline it. Arguments over the character of Empress Georgiou and her suitability as the star of a new show drowned out any interest in the Section 31 organisation itself. And the otherwise muted, uninterested response from Trekkies and a wider television audience compounded that, driving the first nail into what appears to be the series’ coffin.

We may never learn what comes next for Georgiou.

Speaking personally, it wasn’t until we got to Terra Firma that I saw the merits of a Section 31 show with Georgiou at the helm. One of the first articles I wrote here on the website almost two years ago was about the Section 31 series – and how I was truly not interested in it at all. It took seeing Georgiou’s character arc play out, and the strong two-part episode Terra Firma in particular, before I was sold on the concept. But by then, it seems, it may well have been too late to revive the show’s declining prospects.

Star Trek’s past is littered with unresolved story elements – though most don’t involve major characters. It’s possible that Georgiou’s story will simply be left incomplete, her destination after entering the Guardian of Forever’s portal never to be shown nor explained on screen. That would be unfortunate, especially because the character we finally got to see by the latter part of Discovery’s third season is so much more nuanced and interesting to follow. Seeing Georgiou run Section 31 had finally begun to sound like a show that Trekkies were interested in… but it feels like it’s too late now. The franchise has simply moved on to other projects.

The Star Trek franchise – including all properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.