The Star Trek Fan Community’s Worst Theories

A Star Trek-themed spoiler warning.

Spoiler Warning: There are spoilers ahead for practically the entire Star Trek franchise, including recent seasons of Picard, Strange New Worlds, and Starfleet Academy.

I like to engage in a bit of theory-crafting here on the website! If you’re a regular reader, you might’ve followed along with my weekly Discovery and Picard theories while those shows were on the air. Or perhaps you clicked on one of my viral theories speculating about Unknown Species 10-C, Q, or Vadic. Or maybe you’re brand-new to Trekking with Dennis… in which case, welcome! But my point is that I like Star Trek fan theories, I write a lot of Star Trek fan theories, and I get a *lot* of things utterly wrong.

I give that caveat for one important reason: this piece, in which I’m going to demolish some fan theories that I’ve found doing the rounds in the online Trekkie community, is meant to be tongue-in-cheek! I’m trying to have a bit of fun with the Star Trek franchise in this landmark sixtieth anniversary year, and picking apart some fan theories I’ve come across on social media seemed like it could be a way to do that. But I’m not taking this too seriously, and you only need look at my own fan theories to see how bad some of them were.

Cropped promo poster for The Search for SquarePants (in a Star Trek style).
Brace yourself. Things are about to get… silly.

More than ever, I encourage you to keep in mind that this is entirely *subjective, not objective*, and that we’re dealing with non-canonical fan theories which are likely never to be confirmed nor even referenced on screen. This is just for fun, it’s supposed to be a light-hearted exploration of some of the Trekkie community’s “wilder” and more “out there” ideas, and it’s just one person’s take on things, at the end of the day. So please try to keep all of that in mind as we go through these theories!

I visited a few different Star Trek social media pages and channels, collecting twenty-five theories that I thought sounded… well, to be blunt, I thought they sounded kinda silly. Some of these seem to have been written almost as parody, but others did seem to have elicited debate, and clearly have believers. But in any case, all of these made interesting (or weird) points, and I thought breaking them down could be a bit of fun as we continue our year-long celebration of the franchise’s sixtieth anniversary.

Screenshot from Star Trek: Generations (PC game) showing the Enterprise-D firing phasers.
The Enterprise-D. Bonus points if you know where this image comes from!

These theories cover all kinds of topics, and span the breadth of Star Trek’s history, from The Original Series all the way through to some of the most recent episodes of Starfleet Academy. Some fans have been, shall we say, especially *creative* with their ideas! Which is fantastic. I adore the Star Trek fan community and how passionate folks can be. As I’ve said many times here on the website: crafting a theory is a great excuse to spend a bit more time in Star Trek’s wonderful galaxy, and even though I may disagree vehemently with a theory, I love that Trekkies all over the world are so invested in this franchise.

We’re going to get into the theories now, so consider this your final content warning. This is your last chance to jump ship if you need to avoid spoilers or if you don’t want to come across some potentially controversial Star Trek opinions! The theories below are in no particular order.

Theory #1:
Dr McCoy knows that he’s a character in a TV show.

Still frame from Star Trek: The Original Series Journey to Babel showing Dr McCoy.
Leonard “Bones” McCoy.

In The Original Series, there were a handful of moments that seemed to break the fourth wall – i.e. where characters within Star Trek seemed to acknowledge the audience, or that what was unfolding on screen might not be real. Dr McCoy was a key part of one of the most (in)famous fourth wall breaks in The Original Series: the closing scene of the Season 2 episode Journey to Babel. In this scene, Dr McCoy remarks that he “finally got the last word,” after shushing Kirk and Spock – seemingly referencing other episode endings in which Kirk, Spock, or another character would say the closing line or remark on what had transpired. Furthermore, McCoy seems to say this while looking *almost* straight into the camera.

Without getting too nitpicky, I think we can debunk this one by explaining that McCoy was simply commenting on Kirk and Spock’s tendency to talk over him in-universe, rather than anything more meta! And the choice of camera angle, rather than hinting at McCoy somehow being self-aware, was merely a close-up. The Original Series did close-up shots like that all the time, and McCoy’s gaze is slightly off to one side, not straight down the lens. There’s nothing in canon to suggest that Dr McCoy is somehow self-aware of his status as a character, and anything that hints otherwise can be written off as a quirk of the show’s production or writing.

Theory #2:
The show T.J. Hooker depicts Kirk’s adventures on a holodeck.

Poster/box art for T.J. Hooker.
It’s Captain Kirk!

T.J. Hooker stars William Shatner in the lead role, and if you don’t know it, it’s a police procedural show from the ’80s. Besides Shatner’s role, Leonard Nimoy had a small role in one episode (and directed another), and James Darren (DS9′s Vic Fontaine) was a regular character. The series was in production alongside three Star Trek films – The Wrath of Khan, The Search for Spock, and The Voyage Home. But… that’s it. There are no overt references to Star Trek in T.J. Hooker, nor to T.J. Hooker anywhere in Star Trek – at least, not that I can recall.

If fans want to watch the show and make this inference… I mean, there’s nothing stopping you anymore. A few years ago, I might’ve said that the holodeck is a 24th Century creation, but Strange New Worlds has blown that theory out of the water. Holodecks clearly did exist at the time of The Wrath of Khan, and to be honest, I could see Kirk choosing to play make-believe as a cop in the ’80s. Obviously this isn’t and never will be canon… but don’t let that stop you!

Theory #3:
Borg “transwarp” is actually the mycelial network (from Discovery).

Still frame from Star Trek: Picard S1 showing the Artifact at transwarp.
A Borg Cube exiting a transwarp aperture into normal space.

I think we have enough context to fully debunk this one, right? Discovery’s mycelial network and Borg transwarp behave completely differently to one another, with the USS Discovery able to “jump” instantaneously to points across the galaxy, whereas Borg vessels enter a transwarp network and are accelerated to vast speeds. Borg transwarp is way quicker than warp speed and clearly allows for much faster transport than anything 24th or 25th Century Starfleet is capable of. But it lacks the instantaneous movement or the “jumping” effect of Discovery’s mycelial network. So I think that alone rules it out.

One thing that Star Trek’s writers usually do well is keep the intricacies of different technologies pretty vague. We know that dilithium crystals moderate the antimatter reaction in a warp core… but what that technobabble actually means, or how it all truly works, is a mystery. And you could argue that Borg transwarp is even more mysterious; just because no Borg character ever said the words “mycelial network” doesn’t mean they don’t have access to that technology. I will concede that it stands to reason that, if the mycelial network is a known phenomenon in the Star Trek galaxy, the Borg would be aware of it. But that doesn’t mean it’s how their transwarp network operates, and there are enough differences between how they appear on screen as to render this one null and void for me.

Theory #4:
Transporters beam out everyone’s bodily waste.

Star Trek art of a giant poo on a transporter pad.
Yuck.

Uh, sure… *that’s* what the Federation uses transporters for. Rather than going to the toilet, no one in the future is potty trained, and instead, transporters automatically empty everyone’s bladders and bowels every time they start to fill up. That’s why you never see a toilet aboard a starship, and why only the most oblique references are made to “waste extraction.”

But… this is just plain *silly*, isn’t it? “Waste extraction” was only ever mentioned in DS9, and only on a few occasions. There are few direct depictions of toilets in Star Trek, but there are references to them. Kirk sits on a toilet (clothed) in The Final Frontier, and Boimler says he dropped his tricorder in the toilet in Lower Decks. If we count non-canon sources, like starship blueprints, toilet facilities can be seen on a few different 23rd and 24th Century vessels, too. There are types of toilet today that don’t use water or a flushing system, and it’s conceivable that, in the future, refinements or brand-new designs could have been invented. Considering the energy cost, the number of transporters required, and the constant need to be in transporter range… I can’t see this being realistic. A fun, jokey idea? Sure. But something to take seriously? No!

Theory #5:
The USS Riker (from Starfleet Academy) is crewed entirely by Will Riker’s descendants.

(Cropped) still frame from Star Trek: Starfleet Academy S1 showing a Federation fleet.
One of these ships (probably the one on the far left) is the USS Riker.

The USS Riker has (at time of writing) appeared in one episode of Starfleet Academy – a blink-and-you’ll-miss-it cameo in Vox in Excelso. Someone online suggested that the Riker’s entire crew are the descendants of TNG’s Will Riker – famous, somewhat, for his womanising ways and romantic liaisons with a variety of different characters across the show’s seven-season run. Riker would later settle down with Deanna Troi, as we saw in Picard, and had two children – only one of whom survived to the dawn of the 25th Century.

But could Riker’s many flings and one-night stands across The Next Generation have led to more… offspring? This theory says so! And while I think it’s a cute joke within the fandom at the expense of how Riker was sometimes written, I don’t think it has an ounce of actual merit. Firstly, we don’t even know for sure that the USS Riker is named for *William* Riker and not some hypothetical other character. Riker’s father, Kyle, also worked for the Federation, the transporter clone known as Thomas may have survived the Dominion War, and Riker’s daughter may also have gone on to achieve something significant, just to give three examples of characters we know to exist. So… this cameo was cute, and appreciated by this old TNG fan. But the idea of a ship crewed entirely by the descendants of Riker’s various liaisons? Silly!

Theory #6:
Discord (from My Little Pony: Friendship is Magic) is actually Q.

Still frame from My Little Pony: FiM S6 showing Discord.
Discord.

We could’ve done an entire article on *just* theories involving crossovers with other franchises, I guess! But this one really does make me smile, because it’s just so silly. I concede that Q and Discord have some pretty obvious similarities: their personalities, their penchant for trickery, and the fact that they’re both ancient beings who form a bond with a mortal protagonist. But c’mon, guys… these are two completely different franchises with very little in common, totally different target audiences, and which are owned by two competing corporations.

John de Lancie portrays both characters, which is where this idea seems to have originated, but that’s really as far as it can go. The same voice actor has found himself somewhat typecast into playing a role which may have been directly inspired by his earlier character. That’s it. Q can’t exist in a franchise where… Q doesn’t exist. It’s a fun head-canon, I guess, if you’re a fan of both universes. But there’s no way it can be anything more than that.

Theory #7:
Benny Russell is real, and Gene Roddenberry stole Star Trek from him.

Still frame from Star Trek: DS9 showing Sisko seeing Benny Russell.
Sisko sees a reflection of Benny Russell.

There are a few variants of this theory. Some posit that, in-universe, the episode Far Beyond the Stars suggests that Star Trek as a whole exists as a fictional creation. I don’t agree with that at all (it’s always seemed logical, to me, that Benny Russell is a vision from the Prophets and nothing more), but I don’t, like, viscerally *object* to fans subscribing to that idea or exploring it. But I have seen fans propose – I *hope* entirely in jest – that there was a real Benny Russell once upon a time, and Gene Roddenberry either got the idea for Star Trek from him… or stole it.

If this is a total joke, which I believe it is, then… I mean, sure. Humour is subjective, and just because I don’t personally find it all that funny… I’m not the joke police. I can’t imagine any Star Trek fan taking this idea seriously, though, because it implies that not only did Gene Roddenberry steal these stories and this world-building, but then the DS9 writers – who must’ve known or been in on it – created a fictionalised version of Benny Russell as a character in their show… for… reasons? As a “confession?” A fun joke, maybe, but not something to take seriously.

Theory #8:
Saavik and/or Tuvok are transgender (because of Vulcan naming customs).

Saavik and Tuvok (from Star Trek) on a rainbow background.
Saavik and Tuvok.

In The Original Series, every named Vulcan we met had a name beginning with S if they were male or T if they were female. But then, in The Wrath of Khan, we met Saavik – the first female Vulcan whose name begins with an S. Cue the fan theories! In short, this theory posits that, because of Vulcan naming conventions that were established in TOS, Saavik and Tuvok “must” be transgender. Saavik would be a trans woman and Tuvok a trans man.

Setting aside the silly premise for a moment, let’s think about this. There are some transgender folks who keep their birth name after transitioning, but it’s more common in the trans community to choose a name more befitting of one’s true gender. For Saavik and Tuvok to keep their deadnames wouldn’t make a lot of sense. Then there’s the fact that there’s absolutely no trans storytelling for either character… at all. In a way, you might say that’s great – that the Federation just accepts everyone and doesn’t make a big deal of it. But for a writer to introduce a character who is intended to be trans and then make no effort to tell a single trans or trans-adjacent story with them? And for fans to have to infer, years after the stories were first told, that these characters are meant to be trans? We’re hitting “Harry Potter” levels of fake inclusivity. If you find something relatable in Tuvok or Saavik as a trans person, I don’t wanna take that away from you. But it’s not how I read either character, and there are other explanations for their names.

Theory #9:
Star Trek V: The Final Frontier didn’t happen; it’s all just Kirk’s bad dream.

Three posters for Star Trek V: The Final Frontier.
Did it really happen?

Have you ever taken a creative writing class? One of the first things the teacher warns you about is the importance of avoiding tired narrative clichés… like “but it was all just a dream.” And to me, that’s how this fan theory comes across. I get that not everyone likes The Final Frontier; I personally rank it as one of the lesser Star Trek films, too. But just because it isn’t popular… that doesn’t mean its events can be scrubbed from canon altogether. Not to mention that the film does genuinely have redeeming features and moments of characterisation (like Kirk, Spock, and McCoy camping) that I wouldn’t want to lose.

This theory hinges on Kirk’s starring role, and the fact that some of his worst fears seem to come true. Sybok’s presence (and Spock never having mentioned him) seems to threaten their special bond. His ship is stolen from him. Members of his own crew turn against him. And there are discrepancies, like the number of decks the Enterprise-A seems to have, or the “Galaxy-class” feel to the ship (caused by recycling sets from The Next Generation). But to me, this one feels like wishful thinking at best… or clutching at the tiniest of straws at worst.

Theory #10:
Nick Locarno and Tom Paris are the same person.

Promo photo for Star Trek: Voyager showing Tom Paris.
Tom Paris… or should that be Nick Locarno?

I think it’s safe to say that Lower Decks has debunked this one (though I still need to get caught up on that show!) But before Locarno made a return to Star Trek, fans speculated that “Nick Locarno” was actually a pseudonym adopted by Tom Paris prior to enrolling in Starfleet Academy. The theory went that Paris wanted to keep his connection to his father (who is a senior officer) a secret – either to be judged on his own merits, or for some other reason.

There are similarities between Locarno and Paris, besides the obvious point that both characters were played by Robert Duncan McNeill. They’re both able pilots, they both have a cocky or arrogant streak, and both have an ambivalent relationship with the Federation and its rules. On the production side of things, it’s long been rumoured that Voyager’s creators wanted to use Nick Locarno, but were concerned about having to pay royalties to the writer of The Next Generation episode in which he originated, so a new, very similar character was created. A photo of McNeill in his role as Locarno can be briefly seen in Voyager, representing a younger Tom Paris in his father’s office. So there’s merit to this in theory… but Lower Decks has completely debunked it by now. And if it were true, I’d have expected Paris to have said so, or for it to have been noted by Janeway early on in the series. The “Locarno” persona might’ve worked for a while, but the scandal would surely have blown his cover, and his identity would be common knowledge by the time of Voyager – at least among senior officers.

Theory #11:
Section 31 isn’t a real Federation organisation – it’s a criminal syndicate pretending to be one.

Still frame from Star Trek: Section 31 showing four main characters.
Section 31: Federation black-ops division or crime syndicate?

The way Section 31 has been depicted in Star Trek has fluctuated a lot. There’s been the clandestine, shadowy agency we encountered in DS9 and later in Enterprise. Then there’s the out-in-the-open branch of Starfleet Intelligence from Discovery. And finally, the “rag-tag gang of misfits” from the TV movie. But one thing that has remained consistent in Section 31 is that the people involved are all Federation die-hards doing things they believe to be in the Federation’s best interests… even as they answer to no one and wield almost unfathomable power.

I can see a world in which a criminal syndicate would side with Starfleet to help prevent, say, the Federation’s total conquest by the Dominion. Or in which Starfleet would make deals with shady crime lords to acquire some kind of biological weapon when faced with an existential crisis. And I can even see a world where a clever criminal would *claim* to be from a government agency or black-ops division as a tactic. But do any of those things apply to Section 31? I would argue no. The closest Section 31 has come to that kind of presentation came in the TV movie, but even then, it was clear that Starfleet was involved – albeit that the mission was still off-the-record. So this idea is simply debunked by what we’ve seen on screen – as fun as it might seem.

Theory #12:
Jean-Luc Picard is Wesley Crusher’s biological father (and he treats him the way he does out of a sense of guilt or obligation).

Still frame from Star Trek: TNG S1, showing Picard, Dr Crusher, and Wesley.
Picard with Wesley on the bridge of the Enterprise-D.

Sometimes you come across a theory – even one that’s been doing the rounds for years – and you just feel… gobsmacked. I simply don’t read Picard and Wesley’s relationship in this way, and any paternal feelings Picard has for the younger Crusher is pretty clearly explained within the context of the show as stemming from his close friendships with Jack and Beverly. Picard does come to appreciate Wesley’s talents, even giving him a role on the bridge of his ship… but not out of any kind of obligation or guilt – it’s in recognition of Wesley’s skills.

I will admit that Picard’s third season complicated my rebuttal somewhat, as we learned that Picard and Dr Crusher did have a child together, and that Dr Crusher kept this a secret. If she did it once, could she have done it years earlier? It could have been an interesting plotline in The Next Generation or even in Picard, if it had been handled well, but despite having some merit in theory, nothing in the show itself leads us to that conclusion. And such a complex story would require a very sensitive and well-written episode or arc, and I’m not sure it would’ve been handled well or been well-received by a large portion of the fanbase. So this one… it can be your head-canon, if you like, but it goes no further in my opinion!

Theory #13:
The Progenitors evolved into the Founders.

Still frame from Star Trek TNG showing an ancient alien/Progenitor.
A Progenitor in The Next Generation.

I don’t know if this theory came about because the same actress (Salome Jens) played both the ancient alien hologram in The Chase and the Female Changeling on DS9, but I suspect that has something to do with it! In any case, this theory posits that the “Progenitors,” as Discovery would later dub them, didn’t go extinct or disappear from the galaxy, but instead evolved to become the Founders of the Dominion. And on the surface, it doesn’t seem totally impossible. The Founders claim to have once been fully solid. And the Founders are capable of genetically engineering entire races. But if the Founders *were* descendants of the ancient aliens who seeded the entire galaxy with life… you’d think they might’ve mentioned it.

For me, that’s where this theory falls down. Something so monumental to who the Founders are – and most Founders seem to be almost ageless – would surely be preserved knowledge, handed down through the millions of years of their existence. Yet the Founders not only don’t bring this up, but they’re distrustful of any non-shapeshifters to the point of paranoia – not something you’d expect to see in the grandparents of the galaxy’s races. I don’t really like the way the Progenitors’ storyline went or what it says about the Star Trek galaxy, and perhaps that’s my own bias showing through when I rule out this theory. But I do believe that something so important would be known to the Founders, and it would be something they’d have at least tried to communicate in their various dealings with “solids.” Not to mention that, for a race that would need to be billions of years old… it’s weird that their technology got to a 24th Century level and apparently stayed there.

Theory #14:
Every film and episode that premiered after First Contact takes place in an alternate reality, due to the changes made to the timeline.

Still frame from Star Trek: First Contact showing the launch of the Phoenix.
The launch of the Phoenix.

Time travel is a pain in the arse, isn’t it? Time-loops, paradoxes… all of that. It’s very difficult to write a compelling time travel story and pull it off flawlessly – even more so in a long-running franchise with a timeline that has to be basically consistent from one episode to the next. This theory posits that the changes Picard and co. made in the 21st Century were so serious that the Star Trek franchise can essentially be divided into two alternate realities: pre- and post-First Contact stories.

I don’t know how to word this without using terms like “destiny” or “fate,” but I think the way we’re meant to read the events of First Contact is that the interventions by the Borg and Enterprise-E were always “meant” to happen; i.e. they happen in every timeline. That’s why there was no Department of Temporal Investigations inquiry, and no ramifications for Picard for meddling in the timeline. We could also ask why First Contact should be the divide – why not other time travel stories, like The City on the Edge of Forever, Assignment: Earth, Past Tense, or even Endgame. All of these made major changes to the timeline that, by the same logic this theory uses, could create an alternate reality.

Theory #15:
Discovery Seasons 3-5 didn’t happen – and what we saw are Pike’s imaginings during his convalescence on Talos IV.

Still frame from Star Trek: Discovery showing Saru, Tilly, and Burnham.
Tilly, Saru, and Burnham in the 32nd Century.

I don’t see how you could subscribe to this theory without also writing off Starfleet Academy, Section 31, and probably Strange New Worlds, too, as they’re all connected. But setting that aside… this theory reminds me more than a little of the Star Wars so-called “theory” that one or more of the sequel trilogy films is “about to be removed from canon!!1!” In short, it feels like a bit of a cope from folks who don’t like Discovery, the 32nd Century setting, and in particular, the Burn.

My personal view, by the way, is that – somehow – a future Star Trek production should find a way to gently push Discovery’s 32nd Century out of the prime timeline, partially because of how depressing the Burn is as a future destination, but also because of how it turns any potential future film or TV show into a de facto prequel to Discovery. But that isn’t the issue here: this theory posits that nothing we saw on screen in Discovery’s 32nd Century actually happened to begin with. That simply isn’t true; Discovery, Strange New Worlds, Section 31, and Starfleet Academy all coexist in the prime timeline. You can choose to disregard different parts of Star Trek from your personal head-canon; fans have been doing that for decades. Or you can choose not to tune in to any new shows set in that era. That’s totally okay. But this theory can be nothing more than head-canon, and a heavy hit of copium for folks who hate where Discovery went.

Theory #16:
Dr Zimmerman used the Professor Moriarty hologram when creating the EMH.

Still frame from Star Trek: Voyager showing Dr Zimmerman.
Dr Lewis Zimmerman.

In the episode Elementary, Dear Data, we saw the creation of a sentient, self-aware hologram: Professor Moriarty, Sherlock Holmes’ nemesis. Moriarty would later be re-activated and trapped in a holographic world, before apparently being transferred to Section 31’s Daystrom Station by the early 25th Century. As one of the first truly sentient holograms, it’s not impossible to think Starfleet would’ve wanted to study Moriarty, figuring out how a simple miscommunication with the Enterprise-D’s computer could lead to such an entity coming to exist.

This theory goes a lot further, though, suggesting that Dr Zimmerman – the creator of the EMH programme – used Moriarty in some way, either as a “template” or just to further his own research. And while nothing on-screen explicitly contradicts this idea, it’s just not something I think makes a ton of sense. Zimmerman is presented as egotistical and selfish, so the idea that he’d rely on someone else’s work instead of developing his own holograms doesn’t make a lot of sense. And it’s strongly implied in DS9 and Voyager that the EMH Mark I (i.e. the Doctor) had a long and difficult creation process, with some of Zimmerman’s more basic holograms coming first. So while the idea of Starfleet researching Moriarty makes sense, I don’t think Zimmerman being involved really does.

Theory #17:
Enterprise’s mysterious “Humanoid Figure” is Archer from the future, and he’s trying to sabotage his own earlier missions. For some reason.

Still frame from Star Trek: Enterprise showing Archer and the Humanoid Figure.
Archer meeting… himself?

This theory has the benefit of having been discussed by some of the original writers of Enterprise – with a suggestion that this was even a seriously-considered plot point for what would’ve been Season 5. But as we said above: time travel, time-loops, and paradoxes are really difficult to get right, and the idea of an older, jaded Archer somehow deciding that he wants to sabotage his own earlier mission and his own life… such a story would be difficult to write in a way that made sense, and it would be a challenge to pull it off successfully.

I’ve always interpreted the “Humanoid Figure” as simply being one of the leaders of a faction from the Temporal Cold War/Temporal Wars, though to be honest, I try not to think too hard about this element of Enterprise. Time travel stories just aren’t my favourites in Star Trek, and a significant portion of Enterprise was taken up by these kinds of plotlines. If the “Humanoid Figure” was meant to be Archer – which he wasn’t, at least not originally, as no identity was built into the character at first – it raises too many questions, and would realistically have needed a multi-episode arc. Given what we know of Archer’s future – his captaincy of the NX-01 and his later role in the founding and leadership of the Federation – this villainous turn (and his apparent acquiring of time travel tech) doesn’t make sense, and I struggle to see how a story could be written to take Archer from the textbook definition of a Starfleet captain to a man who tries (and fails) to sabotage… himself.

Theory #18:
We (the audience) are living in the timeline that ultimately becomes the Mirror Universe.

Still frame from Star Trek: Discovery S3 showing Terrans on the bridge.
Soldiers of the Terran Empire.

Do you ever read something and just think to yourself, “god, you were *so close* to understanding the point… but then you blew it?” The Mirror Universe is *intended* to be uncomfortably close to reality – any sci-fi dystopia is! That’s the point of the genre, and Star Trek’s Mirror Universe is meant to be a mirror (get it?) of our current society’s darkest impulses, moral failings, and inclination towards autocracy. That’s the entire point! It’s Star Trek showing us a dark reflection of ourselves to make us pause and think.

If you see elements of the Mirror Universe in today’s world, that isn’t because we’re in some dark timeline that Star Trek predicted… it’s because the stories were deliberately written that way to show us some of our own failings and societal problems. The point isn’t to fall into depression and pessimism, to say that we’re on a dark path and there’s nothing we can do but wait for the Terran Empire to emerge. We’re meant to look at these stories and say, “let’s do something about that. Let’s make changes for the better.” The Mirror Universe, with its pantomime-level overacting and one-dimensional baddies, has never been my cup of tea, and as a metaphor I think it’s almost too basic and too unserious. But in a way, that’s part of how it works: it’s storytelling by fable. The point was never that we’re locked into a dark path to the “bad outcome,” the point is that we have these dark impulses, but we can overcome them. Bad things can happen, and bad leaders can rise to power – but we can stop them.

Theory #19:
The Genesis Device and replicators are the same technology.

Still from Star Trek III showing the Genesis Planet.
The Genesis Planet.

This one made me smile. In a way, I like the idea of Starfleet looking at the Genesis Project and saying, “yeah, let’s not use it to terraform planets, let’s use it to make bowls of tomato soup.” It’s just kind of small-scale and silly. And it’s true that, out here in the real world, technological innovation often comes from unexpected places. An attempt to create a high-strength adhesive famously led to the weak glue used for post-it notes, for instance!

Star Trek works best when its technologies are deliberately kept vague. That allows for maximum wiggle-room when telling a story, and it also allows for head-canon like this to exist. I guess you could say that, based on what we know of both the Genesis Device and replicators, they both use subatomic particles to change one form of matter into another. But does that mean that one was developed from the other, or that Starfleet shut down Project Genesis only to use the same technology in a totally different way? I don’t see it.

Theory #20:
The entire Soong family are clones – which is why they all look the same.

Composite image of various Soong characters from Star Trek.
A family portrait…

This theory exists for one reason and one reason alone: every member of the Soong family that we’ve met is played by the same actor! Brent Spiner took on the role of Data’s creator in The Next Generation, and this was later expanded in Enterprise and Picard to include new ancestors and descendants of the Soong family. They all look the same because they’re all Brent Spiner. But could there be more to it than that?

Adam Soong, the earliest-known Soong ancestor, was interested in genetic engineering, so could he have cloned himself in the mid-21st Century, sometime after the events of Picard’s second season? I mean, it’s not *impossible*, I suppose. But we know in the prime timeline that genetic engineering has been outlawed, so the practice can’t have continued through the generations all the way to Altan Soong in the late 24th Century, surely.

Theory #21:
Worf has an incorrect (or incomplete) idea of what it means to be a Klingon, because he only learned about his culture from Federation books.

Promo photo for Star Yrek: Picard S3 showing Worf.
Worf.

Worf is a Klingon… but he was raised from a young age by humans. That’s a core part of his character background, and having lived away from his homeworld and his people, Worf can feel torn between his loyalties to Starfleet and to the Klingons. But does Worf truly know what being a Klingon means, having only learned about his culture from books? Some fans seem to think he doesn’t, arguing that it explains why Worf seems to lack the famous Klingon sense of humour, being very dour and serious almost all of the time. Others have even suggested that Worf might have a form of “Klingon autism.”

There is the kernel of an interesting idea here, and I think it could’ve been fun to put Worf into a Klingon story as a “fish out of water,” or better, as someone who *thinks* they know everything… until they’re confronted by people who’ve been immersed in that culture from day one. But Star Trek never went down that route, and there are other examples of stoic Klingons who share some of Worf’s traits. It’s an interesting theory, in some ways, but we’ve spent so much time with Worf over the years, and he’s had so many encounters with a huge number of Klingons, that if this theory were even close to true… we’d have seen something more concrete.

Theory #22:
Romulans are the “true” Vulcans, and Vulcans are the ones who left.

Still frame from Star Trek: Strange New Worlds showing a Romulan commander.
A 23rd Century Romulan.

This just flat-out isn’t true. It’s established multiple times in Star Trek that the Romulans were the ones who left their homeworld behind after rejecting the Vulcans’ moves to embrace logic and purge their emotions. Now, if this theory had said that Romulan culture is the original Vulcan culture, I guess we could have more of a conversation, because there’s a way to read the Romulan-Vulcan split that would say the Romulans preserved a pre-Surak, pre-logic culture that the Vulcans may have possessed. But that’s never been confirmed on screen.

What I think would be a way more interesting theory is this: the Vulcans have *always* known the Romulans’ true identity, but chose not to share that with Earth and humanity, perhaps out of a sense of shame or fear. I think there’s a great case to be made that the Vulcans either kept track of the Romulans or else were able to scan their bio-signs, analyse their language, or something after re-encountering them. It’s always seemed likely to me that Vulcan leadership, at least, was aware of their shared history – even if individuals like Spock may not have been. But this idea that the Vulcans are the offshoot… it just doesn’t line up with what we’ve seen on screen in many different stories.

Theory #23:
There is no “Q Continuum;” there’s only one Q, and after billions of years of isolation and loneliness, he’s developed some kind of multiple personality disorder.

Still frame from Star Trek Picard S2 showing Q.
Q in Star Trek: Picard.

Again, we have a theory that directly contradicts things we’ve seen on screen. As far back as The Next Generation, Q was confirmed to be just one member of a species, and we even met other Q in the show. I guess this theory would also propose that all of those individuals were the same Q, but that doesn’t make a lot of sense, does it? Nor does the idea of a Q civil war, as seen in Voyager, or one member of the Continuum committing suicide. If we’d only met Q a few times, and never seen other members of his race, I’d at least have to concede that this one was plausible. But having met dozens of other Q and literally visited the Continuum itself… I think there’s more than enough evidence to dump this one in the “debunked” pile.

There are mysteries associated with Q, though – not least what became of the familiar John de Lancie character after his apparent “death” in Picard’s second season. I just don’t see this as being a plausible theory, or even something mysterious at all. The Q Continuum exists, other Q exist, and trying to overwrite that would mean dozens of stories would be adversely affected. It’s an interesting thought, for sure, but one that just feels thoroughly debunked by what we see on screen.

Theory #24:
The species that abandoned Armus were the Founders.

Still frame from Star Trek: TNG S1 showing Armus.
Armus.

This theory obviously comes from Armus and the Founders both existing in a liquid state, and I can see why it might seem plausible on the surface. But there are two pretty big issues which, in my view, render it null and void. Firstly, Armus lives in the Alpha (or Beta) Quadrant, whereas the Founders and Dominion are native to the Gamma Quadrant. Without access to the Wormhole (which the Founders canonically did not know about until they met the Federation), that’s a decades- or centuries-long journey.

Secondly, and perhaps most importantly, if the point of creating and abandoning Armus was for the Founders to shed their “skin of evil,” and to leave all of their negative traits and qualities behind… it didn’t exactly work, did it? The Founders are paranoid, hateful, and view themselves as superior to most other forms of life. So… how is Armus alone the sum total of all of their negative qualities? Between that and the distances involved, I have to say that I don’t find this one to be plausible. The fact that both the Founders and Armus are liquid doesn’t do enough to outweigh that.

Theory #25:
Apparent discrepancies between The Original Series and the rest of Star Trek are because TOS is a holonovel being viewed from the 24th Century.

Promo image of Kirk, Spock, and McCoy from Star Trek.
Kirk, Spock, and Dr McCoy.

I admire the lengths some fans are willing to go to in order to smooth out inconsistencies in Star Trek’s canon. A similar theory states that These Are The Voyages didn’t happen as shown, because it was an exaggerated or misremembered holo-programme. But in this case… I mean, firstly there’s just no evidence at all that a single part of TOS is a holo-programme. Then there are episodes like Trials and Tribble-ations, which very clearly show that TOS and the 24th Century share a setting. And while there can be inconsistencies within Star Trek’s canon, I’m not even convinced at this point that the line should be drawn between TOS and the rest of the franchise. Why not between, say, Voyager’s finale and everything that came after?

This will sound unsatisfying, especially for folks who love to theorise – and I get that, believe me. But the plain and simple fact is that these discrepancies and inconsistencies exist because Star Trek is a long-running franchise, and these are stories. Sometimes, a new story seems to overwrite or retcon something, or makes a change that’s inconsistent with what came before. While I have argued in the past that internal consistency is important, I’m also not a stickler for the tiniest minutiae of canon, and I believe there’s enough wiggle-room in Star Trek for all of the various parts of its universe to coexist in a single setting.

So that’s it… for now!

Still frame from Star Trek IV showing the sun on the Bounty viewscreen.
We’re flying too close to the sun…

I hope this has been fun. Twenty-five theories was a lot, but at the same time… I feel there’s more to this idea. So if your favourite bad theory didn’t make the cut, stay tuned. I may revisit this concept in the future, if I can find more fan theories to pick on.

As I said at the beginning, this was meant to be a bit of fun, and not something to get too wound up or upset over. While I don’t personally subscribe to any of these theories – for reasons I’ve tried to explain – I found all of them to be interesting, and I don’t want to dent anyone’s passion for Star Trek. I’m a theory-crafter myself, so I respect and appreciate other folks putting their theories out there to be discussed.

HD still frame from the documentary What We Left Behind showing a close-up of DS9.
It’s DS9!

I’ve got a few more ideas for articles and columns as Star Trek’s huge sixtieth anniversary year rolls on. How many TV shows and franchises can say they’ve made it this far, eh? Not many, that’s for sure! It’s a testament to how amazing this franchise is that so many years later, people like us are still discussing and debating every aspect of Star Trek, and still enjoy getting lost in this fantastic setting.

So please stick around throughout 2026 for more pieces celebrating all things Star Trek! Next month, I daresay I’ll be writing a review of Starfleet Academy’s first season. And I’m still hopeful we’ll see Strange New Worlds before the year is out. And there are other theories, discussions, and episode re-watches to get into, too.

Thanks for tuning in this time… and Live Long and Prosper, friends!


The Star Trek franchise – including most films and TV series discussed above – can be streamed now on Paramount+ in countries and territories where the platform is available. Many are also available on DVD and/or Blu-ray. The Star Trek franchise is the copyright of Skydance-Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek “Hot Takes” (For The 60th Anniversary!)

A Star Trek-themed spoiler warning.

Spoiler Warning: Beware of spoilers for the following Star Trek productions: The Original Series, The Motion Picture, The Next Generation, Voyager, First Contact, Discovery, Picard, Prodigy, Strange New Worlds, and Starfleet Academy.

2026 will mark the 60th anniversary of the Star Trek franchise. And what better way to celebrate the beginning of this milestone year than by stirring the pot in the Trekkie community? So today, I thought we could all enjoy six more of my patented Star Trek “Hot Takes!”

Before we go any further, I’d like to give a couple of caveats. Firstly, these are all opinions that I genuinely hold, and I’m not making things up for the sake of clickbait or to deliberately upset people. But, with that being said, I’m also a huge Star Trek fan, and I share these “hot takes” with tongue firmly embedded in cheek! This is meant to be a bit of light-hearted fun in the 60th anniversary year – not something to get too worked up or annoyed about.

Promo screenshot for Star Trek Online showing a D'Kora Class ship.
A Ferengi marauder.

These are *hot* takes, not “super obvious takes that everyone will agree with,” so you can expect some degree of controversy! And, as always, everything we’re talking about is just one person’s *subjective, not objective* opinion. Feel free to disagree vehemently; I’m well aware that my position will be the minority one in most cases. However, if you aren’t in the right frame of mind for some potentially controversial Star Trek opinions… consider this your final content warning!

With all of that out of the way, let’s celebrate the beginning of Star Trek’s big sixtieth anniversary year with six “hot takes”!

“Hot Take” #1:
Star Trek got way better after Gene Roddenberry was out of the picture.

Promotional photo of Star Trek: The Next Generation creator Gene Roddenberry on set.
Gene Roddenberry.

Gene Roddenberry was Star Trek’s creator. He established the world, the lore, the look and feel of Star Trek… he quite literally built the franchise from nothing, and his philosophy and ideas are *still* a core part of Star Trek today. But after Roddenberry lost control of the cinematic franchise in the early ’80s, and especially after he stepped away from day-to-day work on The Next Generation, well… that’s where Star Trek got a heck of a lot better.

Gene Roddenberry cut his teeth on the TV serials of the mid ’50s, and his writing style… it never really evolved beyond that, even as the entertainment landscape around him was utterly transformed. Look at his final work with the original Star Trek crew: The Motion Picture, which he was heavily involved with, had a troubled production, with script re-writes happening during filming, and the finished story feels like an extended cut of a TOS episode. This came two years after Star Wars, a year after Superman, and the same year as Alien and Apocalypse Now. And although The Motion Picture made more than its money back, it’s not exactly the definitive Star Trek story for either Trekkies or a more general audience.

Behind-the-scenes photo from Star Trek: The Motion Picture showing director Robert Wise, creator Gene Roddenberry, William Shatner, DeForest Kelley, and Leonard Nimoy.
Roddenberry with Leonard Nimoy, director Robert Wise, DeForest Kelley, and William Shatner on the set of The Motion Picture.

The simple truth is that Roddenberry was lapped by a new generation of sci-fi storytellers and filmmakers in the years after Star Trek. And ironically, many of those projects would never have been greenlit were it not for the huge success of Star Trek! But by the end of the ’70s at the very latest, what Gene Roddenberry was capable of, particularly as a scriptwriter, had fallen way behind audience expectations. He tried to reclaim his place at the head of the Star Trek franchise with The Next Generation in 1987, but again… most of that show’s best episodes and stories came *after* he was no longer involved.

In The Original Series, Roddenberry penned the critically-panned episode The Omega Glory, his original treatment of The Cage almost got Star Trek cancelled before it could get off the ground, and of the other writing credits he has in the franchise… could you name a single one? Return of the Archons, Bread and Circuses, The Savage Curtain… none of these leap out at me as being “must-watch classics.”

Behind-the-scenes photo from the Star Trek TNG S3 episode Menage a Troi showing Gene Roddenberry and actor Peter Slutsker (in Ferengi makeup).
Gene Roddenberry with actor Peter Slutsker on the set of The Next Generation.

Roddenberry had a very rigid, almost dogmatic vision of what the future should look like. And, admirable as that may have been, it didn’t really lend itself to interesting, engaging, or realistic storytelling. If Starfleet characters and humans in this era are all heroic paragons of virtue, free of prejudices, conflicts, and negative feelings of any kind… how do you build tension and drama in a story? How can characters have arcs when they begin at “already perfect”? And the less we say about Roddenberry’s self-insert character of Wesley Crusher (named after his own middle name) the better!

Okay, okay. I’m exaggerating just a little. But I don’t think it’s a coincidence that The Original Series films were better-recieved after Roddenberry was kicked off them. Nor that The Next Generation began to improve after he was no longer directly involved. I personally *adore* The Motion Picture, but there’s no denying it’s not one of the best films in the franchise in most people’s opinions. Gene Roddenberry was simply a man of his time… and his time came and went. When The Next Generation was underway, and spin-offs were being worked on, Roddenberry’s time was over. And Star Trek improved as a result. Characters could be flawed, humanity and Starfleet could better reflect the world of today by being imperfect, and Star Trek began to feel less like an impossible utopia or a morality fable and more… real.

“Hot Take” #2:
The overuse of legacy characters did more harm than good in modern Star Trek.

Promo photo for Star Trek: Picard Season 3 showing the main characters.
(Most of) the main characters from The Next Generation returned in Picard Season 3.

In 2018, I was… concerned. For the second time in a decade, we were going to see Captain Pike and Spock re-cast for a new project: Discovery’s second season. And, around the same time, we also learned that Jean-Luc Picard was being brought back for his own series. Star Trek’s return to its small-screen home had already been complicated by including Michael Burnham as Spock’s long-lost adopted sibling, but these announcements seemed to signal a disturbing trend: Star Trek was doubling-down on legacy characters and storylines at the expense of trying something new.

And that trend would continue. Prodigy, despite being billed as a show for kids, functions more as a sequel to Voyager than an independent production. Picard quite literally dumped almost all of its new characters – without bothering to resolve most of their arcs and storylines – in order to bring back the crew of The Next Generation for one final adventure. And Strange New Worlds, despite introducing us to some interesting new characters, focuses excessively on Spock, Kirk, Uhura, Scotty, and other TOS characters that have been introduced. We even got an entire episode in Season 3 where it was *only* those legacy characters who were in focus.

Still frame from Star Trek SNW Season 3 showing Kirk and Scotty.
Kirk and Scotty in Strange New Worlds.

If I’m right, and Star Trek will be disappearing from the small screen for the foreseeable future in the next few years, I really think we’ll come to regret this overabundance of legacy characters. Why? Well, to put it simply: it’s left Star Trek with nothing to build on and nowhere to go in the future. You and I may love Janeway, Seven, Picard, Riker, Spock, Uhura, and more… but these stories have either been sequels, showing these characters firmly in retirement or at the ends of their careers, or prequels, bringing the characters from their younger selves closer to the people we remember. By the time these shows are all over… where’s the foundation Star Trek needs to build something new?

There are ways to include legacy characters without totally overwhelming or swamping a production. But it requires discipline on the production side of things. It needs someone to step in and say “no, we’ve seen enough of the Doctor or Uhura or Picard already, let’s tell a story that focuses on someone new.” It’s my hope that – however late in the day it may be – Starfleet Academy will strike a better balance in this regard that any of its predecessors have. It’ll be fun to catch up with the Doctor after all this time… but he doesn’t need to be a main character. He should be, as Robert Picardo has said, “the Yoda of Star Trek,” offering advice and help to this new cadre of cadets, but without getting in their way or making things all about himself.

Kate Mulgrew and Robert Picardo at the Starfleet Academy premiere in 2026.
Kate Mulgrew and Robert Picardo in January 2026.

Look at the absolutely awful mess that Star Wars has gotten itself into thanks to an inability to move on from legacy characters (and the only story that the franchise has ever told). Is that what we want for Star Trek? If Star Trek had gone down this kind of route in the ’80s and ’90s, sticking doggedly with Kirk and his crew, think of all the incredible characters we’d never have met, and all of the stories that would’ve never been told. Modern Star Trek, by focusing so heavily on legacy characters at the expense of new creations (and, arguably, because some of the few new creations haven’t been particularly well-written or well-received), has deprived the franchise of innovation for current audiences, failed to open the doorway to new audiences, and most importantly, stagnated the franchise and left it with fewer narrative directions in the future.

I can’t help but feel, as this current streaming era seems to be winding down, that modern Star Trek will come to be seen as a catastrophically mishandled period, and a massive missed opportunity to build a new, solid foundation for the future. In another twenty or thirty years, there won’t be able to be a revival of any of the modern shows, except perhaps for Lower Decks, because of how heavily they’ve all leaned on either returning actors or re-cast characters. There’s nowhere left for most of them to go now, and they’ve left Star Trek as a whole feeling kinda… tired.

“Hot Take” #3:
The Borg Queen ruins the Borg, and her inclusion fundamentally misunderstands the Collective and what made them such an intimidating villain.

(Cropped) still frame from Star Trek: First Contact showing the introduction of the Borg Queen.
The Borg Queen’s first appearance.

This is a subject I’ve touched on before – and it really ought to be a longer essay on its own, one day! For now, here’s the short version: the Borg Queen has always felt, to me, like the worst and most egregious kind of studio interference. “Films need to have villains!” decreed someone at Paramount Pictures in the mid ’90s, and because the Borg had already been decided upon for First Contact, the writers had to go out of their way to create a unique individual Borg character for Picard, Data, and the others to face off against. Even though the idea of a “unique individual Borg” is a complete oxymoron.

Think back to what Q told Picard when the Borg first appeared in Q Who: “They’re not interested in political conquest, wealth, or power as you know it. They’re simply interested in your ship, its technology. They’ve identified it as something they can consume.” That description presents the Borg as an adversary for the Federation unlike anything we’ve ever seen in the franchise before or since. And it’s *terrifying.*

Still frame from Star Trek: TNG showing Picard, Q, Geordi, and Worf in engineering.
Q Who introduced the Borg.

A common trope in Star Trek is “they were only trying to communicate!!1!” where we learn, belatedly, that a supposed enemy or alien monster wasn’t interested in harming our heroes, but that their form of life was so different that we interpreted their actions as aggression. Another trope of the franchise is our heroes using diplomacy and negotiation to defuse dangerous situations; talking down the Cardassians, Romulans, or Sheliak before a conflict can even break out. The Borg – prior to First Contact – completely ruled out all of that. They don’t talk, they don’t negotiate, they don’t want to be pals. They want to consume; to exploit technological and biological resources to add to their Collective. And you don’t get a say in that.

The Borg Queen opens up a channel to conversation and negotiation with the Borg, and was also a scenery-chewing bad guy in the mould of so many other villains of stage and screen, both in the Star Trek franchise and beyond. I’ll concede the point that the Borg Queen is one of Star Trek’s most memorable and iconic villains. But that’s not the issue. There didn’t need to be an individual Borg leader in order for the Collective to be so dangerous and threatening. Worse, the Queen actively detracts from the previously unique nature of the Borg, transforming them into just another enemy faction with an over-the-top leader.

Still frame from Star Trek: Picard Season 3 showing the defeat of the Borg Queen.
“Noooo!”

This got worse in Voyager, where the Queen developed a weird relationship with Janeway and, in particular, Seven of Nine. The Borg Queen is supposedly a manifestation of the Borg Collective itself, in control of literally trillions of drones, tens of thousands of starships, and the biggest interstellar empire in the galaxy. Yet, for some reason, she obsesses over Picard, Janeway, and Seven of Nine in a way that never felt plausible or realistic. It continued the trend of making villains in Star Trek simultaneously more bland and more over-the-top. And, of course, it all came to a head in Picard’s third season, where the finally-defeated Borg Queen even yells out “noooo!” as she’s beaten, as if she were a second-rate supervillain from a cheap comic book.

The Borg Collective worked because it held up a dark mirror to a society just beginning to get started with computers, showing us how an over-dependence on technology could go awry. It played on similar tropes to zombies, fears of Cold War-era “brainwashing,” and more. The idea that every hero lost turns into another enemy to fight is a powerful one, and the thought of losing one’s mind and being turned against one’s friends is truly a fate worse than death for a lot of folks. But what made the Borg work was that they were incomprehensible, unstoppable, and far beyond Starfleet in terms of size and technology. Adding a scenery-chewing bad guy at the behest of a studio executive? It took away all of those unique qualities, set the stage for a noticeable decline in the quality of Borg stories, and just… ruined the Borg.

“Hot Take” #4:
The transporter is more magic than sci-fi… which is why arguments about whether it “kills and copies” characters are kinda silly.

Concept art for Star Trek: Phase II/Star Trek: The Motion Picture showing a transporter room and two characters.
Concept art for Phase II showing the transporter.

Of *all* the fictional technologies in the Star Trek franchise, none have become quite as controversial as the transporter. There’s a raging debate about how the transporter works, what happens to people who get transported, and whether they’re the same person, clones, or something else entirely. Some folks are adamant that the transporter basically murders and then clones anyone who steps into it, arguing that, if the transporter were ever to be invented in the real world, our current understanding of physics and atomic particles means that the person who steps out the other side of a transporter beam is basically a clone.

But here’s the thing: the transporter is probably the least-realistic of any of the major technologies we know of in Star Trek. There are proposals for faster-than-light communication via quantum entanglement. There are concepts for actual warp drive and other faster-than-light engines. There are realistic artificial gravity ideas that seem feasible. But a transporter? It’s basically magic wrapped in technobabble. That technobabble makes it *feel* technological rather than magical, but it’s the least-plausible of all Star Trek technologies. And for me, it’s one of those “you just gotta suspend your disbelief” things.

Still frame from Star Trek TOS Season 2 showing characters mid-transport.
Transporting in The Original Series.

We don’t apply the same rigorous real-world quantum physics analyses to things like warp drive, do we? Not at the same rate, anyway, based on my engagement with the fan community. Yet, if you approach faster-than-light travel the same way as some pseudo-scientists and armchair physicists do the transporter, you pretty quickly find that it’s impossible, too. My point is this: Star Trek is science-*fiction*, and, as in all works of fiction, there comes a moment where you can either… go with a story and suspend your disbelief, or you can’t. Lots of things in Star Trek are totally fictional. Klingons. Phasers. Dilithium Crystals. And while I get the argument that we want the world of Star Trek to make sense, it’s more important to me that it remains consistent with itself, not that it has to conform to our current understanding of real-world science in every instance.

If Star Trek was constrained by real-world science all the time, that wouldn’t just affect the transporter! Starships at warp would have to deal with time dilation as they travelled faster than the speed of light. Energy weapons would be basically invisible. Starship battles would look a heck of a lot different, too. Can you imagine, in the Battle of the Mutara Nebula, if we had to sit in the cinema for eight weeks while the Enterprise’s torpedo slowly made its way, at sub-light speeds, towards the Reliant? That wouldn’t be a lot of fun, right?

Still frame from Star Trek: TNG showing Barclay being transported.
Lt. Barclay mid-transport.

There is a sub-genre of “hard” sci-fi, where real science matters a lot more than it does in Star Trek. And I daresay it’s true that you’d either never get a technology like the transporter there, or if you did, it’d be treated as some kind of existential horror. But Star Trek isn’t that kind of franchise, despite what some Trekkies like to think, and if we want to enjoy Star Trek episodes and stories on their own merit, we kinda have to accept some scientific inaccuracies and some of the franchise’s more magical and fantastical elements. The transporter is one such example.

I will say, though, that I totally get this argument, and when it’s made in a less-than-serious way, I don’t *object* to it, nor to having a discussion around it. But if someone’s gonna try to claim that it “ruins” Star Trek, or that the franchise needs to explain, in-universe, how the transporter works in detail, then that’s something I’m just flat-out not interested in. Most of Star Trek’s technologies benefit from a degree of vagueness, and the transporter is one of them. It can adapt to fit the needs of all manner of stories, and while there may be implications to the technology based on our current understanding of sub-atomic particles and physics… well, who’s to say that those implications won’t be overcome or proven wrong in the next few centuries? All it takes is a little bit of creative thinking to accept that the transporter works in exactly the way we see it work in episode after episode!

“Hot Take” #5:
Most pitches for new Star Trek shows from ex-actors (and a lot of fantasy proposals from fans, too) would be just *awful*.

Still frame from Star Trek: Enterprise Season 4 showing Archer and T'Pol.
President Archer, anyone?

Scott Bakula has been doing the rounds recently with his proposal for a “Star Trek: President Archer” series; a kind of sequel to Enterprise focusing on the early years of the Federation with Archer as its leader. Robert Duncan McNeill unironically pitched a Captain Proton show a few years ago. Michael Dorn spent years trying to convince CBS and Paramount to go for his “Captain Worf” idea. And those are just a handful of ideas for new shows, sequels, or spin-offs that I just… I really think wouldn’t be much fun.

Picard demonstrated that there can be a place for sequels in Star Trek – though it did so *very* imperfectly a lot of the time. But as we were just saying, modern Star Trek already relies excessively on legacy characters, so doing *more* Picard-type shows, focusing on characters like Seven, Janeway, Worf, or Archer… I think it’s just too much, especially right now. And without a hook nor a compelling reason for *why* any of these characters need to return, I think they’d struggle to tell engaging and interesting stories that would really justify bringing them back.

Still frame from Star Trek: Voyager Season 5 showing Captain Proton (Tom Paris), the Doctor, and Harry Kim in a black-and-white holo programme.
A Captain Proton series? Really?

On the one hand, I get it. If you’re… well, to be honest, *most* ex-Star Trek actors, returning to the franchise is the best work you’re gonna get this decade – if not ever. And when the former ViacomCBS and Paramount corporations seemed to have been greenlighting Trek projects all across the board, you’ve basically got nothing to lose by putting a pitch together. But I think what Star Trek needs right now is to move on, to genuinely leave the past in the past. If there’s even a remote chance of a new series anytime soon, it should be set further along the timeline, in a new era, with new characters. Modern Trek has already overdone it with the legacy characters, in my opinion.

But that’s somewhat incidental. The blunt reality is that I don’t think I’ve seen a single one of these pitches that I actually liked, or that I felt had even the remotest justification for being created. Take Kate Mulgrew’s Janeway idea as an example. Between Voyager, Prodigy, and references to her in Picard, we’ve seen her entire arc… and then some. What could a hypothetical “Star Trek: Janeway” do for the character that we haven’t already seen? It would be a sequel for the sake of making a sequel… worse, it would be a sequel for the sake of cutting Kate Mulgrew a cheque.

Still frame from Star Trek: Prodigy's premiere showing holo-Janeway.
A holographic version of Captain Janeway from Prodigy.

I’m loathe to give studio executives *any* credit whatsoever – especially the brain-dead hacks who used to run the old ViacomCBS and Paramount corporations. But if there’s one thing I could say in defence of some of these folks, it’s that they recognised the obvious lack of quality (and lack of broader audience appeal) in these kinds of actor-led pitches and proposals. There’s an alternate timeline, perhaps, where the Star Trek franchise is swamped by a succession of disappointing sequel shows centred around one or two returning characters… and I just don’t see how any of that would be an improvement.

I’d also extend this to a whole lot of fan-made proposals and “fantasy” Star Trek shows, too – probably including some of my own! I’d have loved to see, for example, a series set aboard a hospital ship; ER in space. But let’s be honest, hardly anyone would be interested in that! There’s no shortage of ideas and proposals from fans for new Star Trek shows, sequels, and spin-offs, and while I will occasionally come across one that sounds genuinely interesting… most of them are absolute trash, and would be truly awful if they ever made it to the screen. This isn’t to say that the Star Trek franchise has got everything right in recent years – far from it. Look at the repetitiveness of Discovery’s storytelling as the show wore on, the bizarre decision to commission a Section 31 show, then re-work it into a TV movie, or making a half-kids show, half-sequel to a series from a quarter of a century earlier. But just because the folks in charge of Star Trek have made mistakes, that doesn’t magically make some of these truly awful-sounding pitches any better!

“Hot Take” #6:
Star Trek is, at a fundamental level, not the right fit for a serialised streaming TV show.

Behind-the-scenes photo from Star Trek: Picard showing Patrick Stewart and a camera.
Behind-the-scenes on Picard Season 2.

Since Lost premiered in the mid 2000s, and especially after Game of Thrones took the world by storm, most big-budget TV shows have gone down a serialised route, mandated by broadcasters and streaming platforms. And there have been some wonderful success stories with the serialised format… in other franchises. But when you think about what Star Trek is at its core – a franchise about exploring strange new worlds – that just doesn’t gel with the kind of serialised storytelling that has become the norm on streaming. And I think that’s a big part of why modern Star Trek has struggled.

A typical Star Trek series needs the freedom that only episodic storytelling can provide. It needs to be able to warp to a new planet every week, encounter new aliens, new villains, and new temporary allies. There can be character arcs and growth within that format – I’m not suggesting we go back to the days where something huge or traumatic would happen, only for it to be ignored in every subsequent story. But in terms of what Starfleet is and what almost all of our main characters do for a living… the only way to tell these kinds of stories, really, is to use that older, episodic style.

Still frame from Star Trek: The Next Generation showing the Enterprise-D at DS9.
The Enterprise-D at DS9.

The only series where serialised storytelling had a chance of working was Deep Space Nine. A static setting with a large cast of secondary characters gave the franchise that opportunity. And I’m not averse to the idea of doing something like that again – DS9 is, on balance, probably my favourite series, and I’d like to see another Star Trek show set on a space station or even a colony. Both of those settings offer more potential for serialised storytelling.

But a show like Discovery, set on a vessel of exploration, needed the freedom of an episodic format to really shine. There were a few semi-standalone episodes across Discovery’s run, and I think most of them would probably rank as my personal favourites that the show produced. But for me, Discovery’s format – which was later recycled in Picard and even Prodigy – felt more like a constraint than an advantage. Blindly chasing the latest trend did not benefit any of the Star Trek shows that tried it, and it’s no coincidence that Strange New Worlds – which employs much more of an episodic style – is, in my view, far and away the best part of modern Star Trek.

Still frame from Star Trek: Strange New Worlds 3x09 showing the USS Enterprise.
The Enterprise in Strange New Worlds.

Unfortunately, Starfleet Academy seems poised to repeat the mistakes made by Discovery, Picard, and Prodigy – telling a season-long, fully-serialised story with a “huge galactic threat,” a villain with a mysterious connection to a main character, and so on. It’s my sincere hope that, if and when Star Trek is revived on the small screen one day, we’ll get something closer to Strange New Worlds in terms of the kind of storytelling employed. Most Star Trek shows just aren’t a good fit for these kinds of serialised stories. And that’s before we get into how repetitive it is to have existential threats, scenery-chewing villains, and the like every single time.

Star Trek has *always* taken inspiration from the entertainment landscape around it, and that’s not inherently a bad thing. But in this case, the way streaming TV has gone over the past fifteen years or so has taken it in a direction that doesn’t suit the Star Trek franchise, and I wish the higher-ups had recognised that sooner. There’s scope to tell *some* serialised stories in Star Trek – I’m not saying it should never be attempted. But doing so at the expense of episodic storytelling in almost every case is why, for a lot of folks, the modern franchise hasn’t “felt like Star Trek.”

So that’s it… for now!

Still frame from Star Trek IV showing Kirk and Spock on a bus.
Kirk and Spock in 1986…

We’ve talked about six of my “hot takes” to mark the beginning of the 60th anniversary year – but there’s more to come! Starfleet Academy will premiere later this week (for some reason, Paramount-Skydance didn’t invite me to the premiere nor give me the episodes to watch early; wonder why?) My current plan for Starfleet Academy is to write a review of the two-episode premiere, then write a review of Season 1 as a whole after it concludes in early March. I don’t think I have enough in the tank for weekly episode reviews right now, I’m afraid, but I hope you’ll join me as I check out the premiere, at least.

And as we get closer to the anniversary, I’ve got a couple of ideas for episode re-watches and other pieces to celebrate this impressive milestone. I’m not 100% sure if Strange New Worlds Season 4 will be out this year, but if it is, I daresay I’ll be reviewing those episodes, too. And I’m always on the hunt for more Star Trek topics to write about, especially in an important year like this. So definitely check back!

Until then, I hope this has been a bit of fun – and not something to get too worked up or upset about! I enjoyed writing up these “hot takes,” and I hope you’ll take them in the spirit of good-natured fun as we come together to celebrate what makes Star Trek such a great franchise. See you… out there!


Most Star Trek films and TV programmes can be streamed on Paramount+ in countries and territories where the platform is available, and are also available on DVD and/or Blu-ray. The Star Trek franchise – including everything discussed above – is the copyright of Skydance/Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Ten Things That Have Always Bugged Me In Star Trek

A spoiler warning graphic.

Spoiler Warning: Beware spoilers for the following Star Trek productions: The Original Series, The Next Generation, Deep Space Nine, Voyager, Enterprise, Discovery, Picard, Generations, and First Contact.

Let’s have a little bit of fun today at the expense of the Star Trek franchise! I’ve been a Trekkie for almost thirty-five years at this point, and I’ve seen a lot of Star Trek in that time! For a franchise that now runs to over 900 individual episodes of television, Star Trek’s internal consistency and the attention to detail shown by the writers and creative teams are generally incredibly good, and there aren’t many true inconsistencies or things to get worked up about. But that doesn’t mean there are zero!

If you’re a regular reader, you might’ve seen me use the expression “glorified nitpick” in some of my Star Trek episode reviews. Sometimes I’ll point out something that I felt didn’t work very well or that seemed to run counter to what we already knew about a situation or character. Well… most of what we’re going to talk about today doesn’t even rise to that level! These aren’t things that I’m cross about or that “ruined” an episode or story for me. They’re just, as the title says, little things that bug me!

Publicity photo for Star Trek: Picard showing the rebuilt Enterprise-D bridge.
The bridge of the Enterprise-D.

Before we go any further, here are my usual caveats! Firstly, all of this is my entirely subjective opinion. If you disagree with any or all of the points below, think I’m “overreacting,” or feel that I’ve totally got the wrong end of the stick… that’s okay! These are just a few stray thoughts that I have about Star Trek, and most of them are so minor that they’re not gonna be worth getting into an argument about! Secondly, this is intended as light-hearted, tongue-in-cheek fun – so I encourage you not to take me too seriously and to engage with this article in that spirit!

Finally, I’m not counting the old excuses of “it’s just a story” or “because the writers thought it worked better that way” as explanations! Sure, everything in Star Trek is “just a story,” and if the writers needed to move characters into place or kick off certain storylines in a way that opens up a minor inconsistency, that’s just the way it goes sometimes. But as a fan, and as someone engaged with this fictional setting, that excuse doesn’t really work for me – and it never has. So it’s true that “none of this is real,” but that doesn’t change anything for me!

With all of that out of the way, let’s get started!

Number 1:
Why was the unfinished Enterprise-B the only ship within several light-years of Earth?
Star Trek: Generations

Still frame from Star Trek: Generations showing the launch of the Enterprise-B.
The Enterprise-B embarks upon her ill-fated maiden voyage.

Kicking off the plot of Generations is the maiden voyage of the Enterprise-B under the command of Captain John Harriman. Joining him for the voyage are Captain Kirk, Montgomery Scott, and Pavel Chekov, but during what was supposed to be a short shakedown cruise entirely within the Sol system, a distress call was received that took the Enterprise-B right into the path of a dangerous energy ribbon called the Nexus.

But here’s my question: why did Starfleet have no other ships anywhere close to the SS Robert Fox and SS Lakul? This is Sol – the home system of the Federation and Starfleet, where Starfleet Headquarters, the Federation government, and Spacedock are all located. With the Enterprise-B on a glorified joy-ride to show her off to a gaggle of journalists, and with weapons and other essential systems still not installed… why would she be the only ship in the area?

Still frame from Star Trek: Generations showing the Enterprise-B in the Nexus.
The Enterprise-B encounters the Nexus.

Think about it: this would be like the only military unit within a hundred miles of Washington DC being a single brand-new tank without its gun barrel. If the Enterprise-B’s shakedown cruise had taken her beyond Sol, then things might feel a little better. But having no other starships anywhere close to the stricken refugee vessels always struck me as bizarre!

If Starfleet leaves its home system and institutions of government so sparsely defended, it’s a miracle that the Klingons, Romulans, or Borg haven’t been able to warp into the system and conquer Earth! Jokes aside, I think the opening of Generations is pretty great – and the film in general is one of my personal favourites. But that doesn’t mean I can just overlook what appears to be Starfleet’s atrocious planning and non-existent defences!

Number 2:
What’s the United Earth Space Probe Agency?
Star Trek: The Original Series

Still frame from Star Trek: Voyager showing the probe Friendship One.
Friendship One, a probe launched by the UESPA.

Prior to settling on more familiar terms like the United Federation of Planets and Starfleet, the United Earth Space Probe Agency (or UESPA) was an organisation that was mentioned in a couple of early Star Trek stories. But what the organisation is and what its relationship is with Starfleet and the Federation was never elaborated upon, and plot points in Enterprise have further muddied the waters.

The out-of-universe explanation for this one is simple enough: as Star Trek was being created and those early episodes were being written, some titles and names were still being decided upon. It wasn’t even settled until well into production on The Original Series’ first season that the show was set in the 23rd Century – the original pitch for the series didn’t specify an exact time period, and the 27th Century was also suggested as a possibility.

But as I said at the beginning, out-of-universe explanations don’t count!

Still frame from Star Trek: The Original Series showing Kirk and Spock.
The UESPA was mentioned a handful of times in the first season of The Original Series.

Enterprise could have put this to rest, but instead the series – quite understandably – wanted to use familiar names like Starfleet, so the UESPA wasn’t included in a big way. Occasional references to it have popped up, including in Voyager where the UESPA had sent out at least one unmanned probe, but nothing to definitively explain what it was and whether it was independent of Starfleet.

To me, the “United Earth” part of the name seems to suggest that it’s a human-only organisation, but with humanity’s ships all seemingly flying under the Federation flag, what role there could be for a United Earth fleet – and where any of its ships or probes actually are – remains unknown.

Number 3:
Why was Starfleet unable to detect the octonary star system?
Star Trek: Picard

Still frame from Star Trek: Picard showing eight stars in formation.
Eight stars in perfect gravitational harmony.

In Season 1 of Picard, the ancient super-synths that I nicknamed the “Mass Effect Reapers” literally moved eight stars to form a stable octonary star system. They did so to make their presence known, and on the planet in that system they left their beacon behind. But… how did Starfleet – with all of its sensors, missions of exploration, advanced telescopes, and stellar cartography departments – fail to notice such an apparently obvious and incredibly interesting stellar phenomenon?

Using technology that we have right now – today, in the early 21st Century – we can look not only at stars, but detect the planets orbiting them, view distant galaxies, and even find black holes. I find it impossible to believe that Starfleet hasn’t at least scanned the entire Milky Way, detecting every star and star system – so how did they miss something so obviously artificial in nature?

Still frame from Star Trek: Picard showing Raffi and the ENH.
The symbol representing the octonary star system.

If Picard had explained that, for instance, the Romulans deployed a cloaking device to shield the octonary system, or that Starfleet did know about the system but couldn’t explore it because of its location behind the Neutral Zone, then I’d have nothing to complain about. But a fairly sizable plot point in one episode involved the crew of La Sirena finding out that this star system had been deliberately hidden from Romulan star charts… when surely the Federation, who aren’t that far away from it in the same region of the galaxy, would have been able to see it through their telescopes! Again, if this system was in a far-flung part of the Gamma or Delta Quadrants, I’d still argue that Starfleet should’ve detected it, but its distance could be its saving grace. However, the octonary star system was supposedly in or near Romulan space – meaning it’s a mere stone’s throw away from the Federation.

In The Next Generation, the Enterprise-D is transported by Q to a system that would’ve taken them years to reach at top speed. But Starfleet already had a designation for this system: J-25. To me, that implies that the Federation has already categorised at least the Alpha and Beta Quadrants, even if ships haven’t been able to explore all of these systems yet. So once again… how did Starfleet miss an entire eight-star solar system?

Number 4:
How did the Enterprise-E reach Earth so quickly from its position near the Neutral Zone?
Star Trek: First Contact

Still frame from Star Trek: The Original Series showing a map on the main viewscreen.
A map of part of the Neutral Zone.

Star Trek’s geography has always been kept vague, and I think that’s been to the franchise’s overall benefit! But there are a few places where the distance between planets and systems seems to be inconsistent. At the beginning of First Contact, for example, we have the Enterprise-E sent away from the main fleet to patrol the Neutral Zone – despite an imminent Borg incursion. But when the battle turns against the Federation fleet, Picard is able to get the Enterprise back to Sector 001 in what seems to be a matter of hours, if not minutes.

Prior Star Trek stories, including in The Original Series and The Next Generation, had seemed to depict the Romulan Empire as being on the Federation’s far border, with outlying colonies disappearing in The Neutral Zone and “Earth Outposts” in Balance of Terror all being depicted as far-flung places. Even if we assume that Romulus is relatively close to Earth, and that the Enterprise-E was very conveniently positioned at the near end of the Neutral Zone, getting back to Earth while the battle was still raging still feels like a tall order.

Still frame from Star Trek: First Contact showing the Enterprise-E firing phasers.
The Enterprise-E at the Battle of Sector 001.

Warp factors in Star Trek are kept pretty vague – so that could account for some of this apparent discrepancy, I suppose. If the Enterprise-E could travel significantly faster than the Enterprise-D, the travel time from the Neutral Zone could be reduced. Again, it still seems to rely on the ship being fortunate with its positioning, but maybe that’s something that could be accounted for by Captain Picard preparing for this eventuality!

Still, it’s always struck me as more than a little odd that the Enterprise-E was able to reach Earth in time. Not only was Picard able to follow the Borg Sphere through the portal it created, but there was even time to save the USS Defiant and Worf before destroying the main Borg Cube. A very quick turnaround indeed!

Number 5:
Why wasn’t there a debate about which route to take?
Star Trek: Voyager

Still frame from Star Trek: Voyager showing Captain Janeway.
Captain Janeway ordered her crew to take the most direct route back to Earth.

After the crew of the USS Voyager found themselves stranded on the far side of the galaxy, Captain Janeway very quickly ordered her crew to set a course for Earth. But the most direct route to Earth, through the Delta Quadrant and later the Beta Quadrant, took the ship right into the heart of Borg territory. Janeway knew this – Starfleet had at least some idea of where the Borg’s territory was located. Even if the Delta Quadrant offered the quickest way home, I’m surprised that nobody objected or tried to propose an alternative – especially when there was a good one.

Before getting transported to the Delta Quadrant, the USS Voyager made a stop at Deep Space Nine. And what’s located right next to the station? The Bajoran Wormhole! The wormhole offers a shortcut to the far side of the Gamma Quadrant – and heading in the direction of the wormhole rather than directly for Earth is something that Janeway and the crew could have considered.

Still frame from Star Trek: Voyager showing the rear of the USS Voyager.
The USS Voyager prepares to begin its long journey.

At this point in the timeline, the Dominion War hasn’t started – so that can’t be used as a justification for not heading that way. And while all we have to go on are non-canon sources, there’s at least some tentative evidence that the wormhole’s terminus is located roughly the same distance from the Ocampa homeworld as Earth. If that’s the case, it would be no slower to head that way. Based on the Borg threat alone, I would have argued that heading for the wormhole is actually the smarter play.

Obviously Voyager was pitched as “the Delta Quadrant show,” and we got some fantastic stories out of that premise. But given the way that Voyager’s writers handled the Borg when that time came… maybe there’s an out-of-universe argument to be made here, too! In any case, even if Janeway had ultimately made the decision to head back to Earth via the most direct route, some discussion or debate would have been an interesting inclusion as the series got going. It could’ve been a way to draw some dividing lines between Starfleet and Maquis characters – making more of the “one ship, two crews” idea that Voyager never really explored in much depth.

Number 6:
Why did Michael Burnham and the USS Discovery head into the far future?
Star Trek: Discovery

Still frame from Star Trek: Discovery showing the Red Angel opening a time-wormhole.
The USS Discovery approaches the time-wormhole.

Wait, stop! I know what you’re thinking: “this is the entire plot of Season 2 and was well-explained! They had to leave the 23rd Century to stop Control from wiping out all life in the galaxy!” And you’re correct, of course – but I’m not looking at the season as a whole or the entire plan. I’m focusing in on the final moments before Burnham opened the time-wormhole and the ship disappeared.

During the climactic battle against Control, the “assimilated” Captain Leland boarded the USS Discovery to attempt to seize control of the ship and its invaluable Sphere data. But after being cornered by Georgiou, Leland – Control’s human avatar – was defeated and killed. At that moment, the entire battle seemed to stop, and as Pike and his crew noted aboard the Enterprise, Control’s entire fleet of drone ships were simply hanging there, apparently dead or deactivated.

Still frame from Star Trek: Discovery showing Control's fleet.
Control’s fleet of drone-ships.

At this moment – before Burnham had entered the time-wormhole and before Saru, aboard Discovery, had followed her – there should have been a moment’s pause. Maybe Burnham herself couldn’t see what was going on, but Saru and Pike could, and even communicated with one another confirming the death of Captain Leland. There was still time for the time-wormhole to be closed, for Discovery and Enterprise to regroup, and potentially for Discovery to remain in the 23rd Century.

Even if Pike and Saru had decided that the risk of Control re-establishing itself was too great, it’s bizarre to me that neither of them even considered the possibility for a moment. With their enemy apparently vanquished – at least temporarily – and with Discovery’s spore drive meaning the ship could’ve evaded Control by jumping to a different part of the galaxy, there was time to regroup and come up with a plan that didn’t involve stranding everyone in a totally different century.

Number 7:
How could Starfleet possibly prioritise anything other than hanging onto Bajor and the wormhole?
Star Trek: Deep Space Nine

Still frame from What We Left Behind showing Deep Space Nine.
Deep Space Nine remastered, from the documentary What We Left Behind.

I adore Deep Space Nine’s Dominion War arc – it’s one of the best (and most under-appreciated) in the franchise, in my opinion. But as the war got started, Starfleet made what appears to be a catastrophic strategic blunder. In the episode Call to Arms, which ended the show’s spectacular fifth season, Sisko informs his crew that Starfleet won’t be sending any reinforcements to hold DS9 – their priorities lie elsewhere.

We later learn that Starfleet used the diversion of the attack on DS9 to destroy a Dominion-Cardassian shipyard… but given the strategic importance of the wormhole, and the fact that the Dominion is more than capable of producing vast quantities of ships and Jem’Hadar troops in the Gamma Quadrant, it never made sense to me that Starfleet wouldn’t have thrown every available resource at the galaxy’s most strategically vital location.

Still frame from Star Trek: Deep Space Nine showing a battle in space.
DS9 could only hold off the Dominion-Cardassian attack for a short time.

The minefield that the crew of DS9 erected bought the Federation some time (as did the subsequent intervention by the Prophets), but Starfleet must’ve known that, even with the best will in the world, the minefield wouldn’t last forever. With the Dominion in control of Bajor and DS9, they could work on shutting it down without interference. The successful attack on the Toros III shipyard may have been little more than a morale-boosting pyrrhic victory.

In war, you’d almost always rather be defending a position than having to attack – and it would have been far easier to try to hold onto DS9 while the station was still under Federation control than to try to re-capture it later after the Dominion had been given a chance to entrench. For a number of reasons, the decision to essentially abandon the station is questionable at best! If part of the story had been to show Starfleet’s admiralty as out-of-touch or incompetent, that might’ve worked. But that didn’t happen, either, so I’m just left wondering what went wrong at Starfleet Command! Still, at least we got some spectacular episodes out of this storyline.

Number 8:
What happened to Dr Pulaski?
Star Trek: The Next Generation

Still frame from Star Trek: The Next Generation showing Diana Muldaur as Dr Katherine Pulaski.
Dr Pulaski in the episode Time Squared.

Although I really liked the character of Dr Pulaski in Season 2 – you can find a longer piece about her here, if you’re interested – I think it’s fair to say that she didn’t really knock it out of the park! A letter-writing campaign from viewers and an intervention by Patrick Stewart contributed to Gates McFadden being re-hired in time for Season 3… and then Dr Pulaski was just never mentioned again.

The nature of her departure always struck me as odd, and it feels more than a little disrespectful to both an actor and a character who, for better or worse, had been a part of the series for an entire season. When Dr Crusher disappeared at the beginning of Season 2, there was at least some effort to pay lip service to her absence – it was explained that she was on another assignment at Starfleet Medical on Earth. Dr Pulaski didn’t even get that, and to the best of my knowledge has never been so much as mentioned since.

Still frame from Star Trek: The Next Generation showing several characters on the bridge.
Dr Pulaski with Riker, Worf, and Troi on the bridge.

We can argue the toss about the benefits or drawbacks of keeping her around – and I go over that in a bit more detail in my character study which I’ve linked above, if you want to see my thoughts on that. But whether you think she was a fun addition to the crew, an annoyance, or whether you just liked Dr Crusher better… you gotta admit that it’s odd that she didn’t get so much as a log entry from Captain Picard to acknowledge her departure.

The second season of The Next Generation was my “first contact” with the Star Trek franchise. The first episode I can solidly remember watching is The Royale – which Dr Pulaski is barely in! But maybe that’s why I’ve always had an appreciation for her character. I like the dynamic that she brought to the crew as someone a bit older, a bit less personable, and who had history with some characters and seemed to be developing new relationships with others. There have been opportunities in recent years for Dr Pulaski to have returned – or at least to have been mentioned. But I doubt that will happen now!

Number 9:
Who invented the cloaking device and when did Starfleet first encounter it?
Star Trek: Enterprise

Still frame from Star Trek: Enterprise showing Enterprise and two Romulan ships.
Two 22nd Century Romulan vessels de-cloaking.

This is a point that I have a personal “head canon” explanation for that I’d love to elaborate on in a full article one day! I’ll get into that in a moment, but for now, suffice to say that this is a classic example of a “prequel problem.” In short, The Original Series first season episode Balance of Terror clearly established that the Federation had never encountered a ship that could cloak, but Enterprise and Discovery – both set prior to The Original Series but produced decades later – show Romulan and Klingon ships operating under cloak and Starfleet being fully aware of this.

This raises several questions! What are cloaking devices, how do they work, and why would Starfleet not share the details of their existence with its captains, at the very least? Kirk and his crew seemed shocked that the Romulan vessel could cloak – but the Romulans had been seen cloaking and de-cloaking more than a century earlier, as had other races like the Suliban. We can debate whether the words “cloak” or “cloaking device” were spoken in those episodes – but the technology appears to be functionally the same, so semantics won’t cut it here!

Still frame from Star Trek: Strange New Worlds showing a Romulan vessel cloaking.
A Romulan ship engaging its cloaking device in the 23rd Century.

When Enterprise was on the air I wasn’t a regular viewer, but I remember that I did catch the episode Minefield – in which a Romulan vessel is seen de-cloaking – and that led to me creating my own “head canon” explanation for this problem. I remember seeing debates on Star Trek message boards in the early 2000s about this topic, and I felt that all the producers would need to do would be to explain, somehow, that there are different types of cloaking devices. Perhaps Starfleet felt that they’d cracked the code, but the Romulans then invented a newer and better cloak. Perhaps there was even a cloaking and un-cloaking arms race between the factions.

In short, I think Star Trek can just about get away with this one by explaining that, when Starfleet figured out how to penetrate one style or type of cloaking technology, the Romulans or Klingons would refine it, re-modulate it, or invent something new. It’s not a perfect explanation, but it plugs most of the hole that Enterprise and Discovery have dug. I still think it would be nice to see something like this made official, in-universe – and let’s be honest: it would be better if these prequel-created plot holes didn’t exist in the first place!

Number 10:
What’s up with the inconsistent uniform changes?

Still frame from Star Trek: The Next Generation showing Captain Rachel Garrett.
Captain Rachel Garrett of the Enterprise-C.

The series premiere of The Next Generation established that the Enterprise-D’s voyages took place almost 75 years after Kirk’s tenure in the captain’s chair, but the “monster maroon” uniforms from The Original Series films would often make appearances in flashbacks or episodes set in the past. Starfleet appeared to have stuck with that design for decades, albeit with a few minor tweaks. Using those uniforms for such a long time already felt odd, but then things started to take a turn!

The Next Generation switched uniforms at the beginning of Season 3 for its main characters, but the Season 1-2 uniform variant was still showing up on secondary characters and background characters well into Season 4. There was also a total mess in Generations, which seemed to depict a moment of transition from one uniform style to another – although Deep Space Nine seemed to have established that space stations might use different uniforms from starships? I’m still not sure about that!

Still frame from Star Trek: Lower Decks showing the four main characters.
Two different uniform styles seen in Lower Decks.

Deep Space Nine made an abrupt switch to the gray-shouldered uniforms midway through its run (to coincide with First Contact’s premiere), and that was okay, I guess. Far more of an instant transition than we’d seen in Generations or The Next Generation, but not necessarily a problem. But then the alternate reality films and post-2017 TV shows have really shaken things up! I’ve said before that I don’t like to get hung up on minor things like aesthetic choices, and I was generally accepting of Discovery’s all-blue look, even if it was supposedly set in between The Cage and The Original Series whose uniforms are well-known. But Lower Decks definitely complicated things by seeming to suggest that different “tiers” of starship would get different uniforms… for some reason.

In short, Star Trek hasn’t always been consistent or clear with the way Starfleet uniforms are used, how long they’re in use for, or which types of officer/crewman should wear what type of uniform. When watching an individual episode – or even a whole season of TV – this doesn’t really seem all that noticeable. But when you pick out different stories or take a big-picture look… these inconsistencies stick out.

So that’s it!

Still frame from Star Trek: Strange New Worlds showing the USS Enterprise.
The USS Enterprise in Strange New Worlds.

We’ve nitpicked the Star Trek franchise and pulled out ten little things that have always bugged me! As I said at the beginning, none of these really spoil Star Trek for me, and I’m more than willing to overlook minor inconsistencies or small plot holes – especially in strong, otherwise entertaining stories. But when you step back and take a look at Star Trek – or any fictional world, come to that – there are always gonna be things that don’t quite make sense or that don’t seem to fit with the rest of the setting.

All of this was just for fun, and I hope it was an interesting look at a handful of minor issues that have emerged over the years. When a franchise has been running on and off for close to sixty years, that kind of thing is inevitable! Although I’ve been feeling a bit burned out on Star Trek of late, it was still enjoyable to jump back into some of these stories – several of which I hadn’t seen for years – to put together this list.

Until next time – and Live Long and Prosper!


The Star Trek franchise – including all films and series discussed above – is the copyright of Paramount Global. Most Star Trek films and episodes are available to stream on Paramount+ in countries and territories where the service is available. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: A Picard Movie?

A spoiler warning.

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Seasons 1-3.

It’s been a while since we talked about much Star Trek news here on the website. I explained back in the autumn that I’ve been feeling burned out on the franchise – to such an extent that I haven’t even finished Strange New Worlds Season 2, nor even started Lower Decks Season 4. There are a variety of reasons why, and I won’t go over the whole thing again. You can click or tap here to read my thoughts on franchise fatigue and burnout if you’re interested!

Suffice to say that Picard’s third season was the last full Star Trek project that I watched, and while it undoubtedly had some highlights and some very strong emotional storytelling, it was far from a perfect production. Although the story of Picard’s third season came to an explosive end, an epilogue seemed to hint at there being more to come for Picard and the crew of the Enterprise-D. I was cognizant of the very deliberate way in which the final scenes of The Last Generation (the Season 3 finale) replicated almost shot-for-shot the ending of All Good Things, the final episode of Star Trek: The Next Generation in 1994. But here’s the thing about that: at the time All Good Things was filmed, Star Trek: Generations was already underway. Production on the film would begin almost immediately after The Next Generation ended… so doesn’t that feel like someone was dropping a hint? Or perhaps making a pitch?

Still frame from "All Good Things," the series finale of Star Trek: The Next Generation, showing the main characters playing poker.
The end of All Good Things…
Still frame from "The Last Generation," the series finale of Star Trek: Picard, showing the main characters playing poker.
…and an identical shot from the end of The Last Generation.

Sir Patrick Stewart, who has played the role of Captain Picard since 1987, recently teased that a script for a film featuring the iconic character is in the works. In an interview with Josh Horowitz on YouTube (which I’ve linked to at the bottom of this article and encourage you to watch for yourself) Stewart said that he hoped to receive the script within days.

Although this is far from an official announcement, I wanted to consider what a new Picard film could look like… and whether it’s a good idea!

Still frame of Sir Patrick Stewart on the podcast "Happy Sad Confused with Josh Horowitz."
Sir Patrick Stewart recently teased this idea on a podcast.

The first thing to say is actually something I talked about a lot during all three seasons of Picard. I first came to Star Trek in the early 1990s by way of The Next Generation. Captain Picard and the crew of the Enterprise-D were my “first contact” with the franchise, and that series is what made me a Star Trek fan. So I will always have a strong bond with the show and an emotional attachment to Picard, Riker, Dr Crusher, and the rest of the crew.

I think it’s important to state that up-front because there’s no way I can be unbiased about this. More Next Generation is always going to be something I’m interested in, and another adventure with Captain Picard will never fail to be appealing. As I said more than once when Picard was on the air: this project almost feels like it’s being tailor-made for me!

Still frame of "Encounter at Farpoint" from Star Trek: TNG showing Worf and Picard on the bridge of the Enterprise.
The Next Generation was “my” Star Trek show!

But I’d be lying if I said that I didn’t have concerns. Across its three seasons, Picard told a muddled, often contradictory story that rarely reached the heights I was hoping for. It was a different kind of show from The Next Generation – which is fine, in theory – but I didn’t always feel that the series even knew what type of story it wanted to tell, let alone executed it well. There are orphaned storylines that went nowhere before being dumped, main characters who just disappeared, and more. It was far from the perfect series.

Season 1 came to a disappointing end, with the series literally running out of time. Season 2 is basically unwatchable for me in its entirety due to how poor its mental health story was, and because of how long it spent aimlessly wandering in a modern-day setting. Season 3 was an improvement in some ways, but its central villain was stupidly wasted and its final act rug-pull brought back the most boring and predictable of factions.

A still frame from Star Trek: Picard showing a crowd at a red carpet event.
Star Trek: Picard was a mixed bag with some serious narrative weaknesses.

So the overall quality of Picard, and the way in which the character was handled in the series as a whole, has to be a concern for any future project. It may be better to say that, despite some issues, Picard managed to pull out a decent enough ending to its third and final season and kind of… leave it. Don’t risk undoing that ending for the sake of another tacked-on project.

I could quite happily say that Picard’s story is complete, and after the launch of the Enterprise-G he either returned to Starfleet Academy or went into a well-earned retirement, living out the rest of his life with one of his wives at his Château in France. Although there was a tease at the very end of The Last Generation, that scene focused more on Jack Crusher, and seemed to represent a handing of the baton from one generation of characters – and one crew of the Enterprise – to another.

A still frame from "The Last Generation," the series finale of Star Trek: Picard, showing Jack Crusher wielding a phaser pistol.
You didn’t skip the credits… right?

And that’s another really great point. Ever since the 1980s, Star Trek has boldly struck out in new and different directions. New characters have been introduced with new starships and settings to explore, and the idea of returning to classic characters in such depth is a fairly new idea. While nostalgia can be a great selling-point, I don’t believe that Star Trek should rely on it to such an extent. There’s a case to be made for the next Star Trek film or series stepping away from legacy characters, at least partially, to focus on telling new stories and expanding the franchise.

If Star Trek had kept telling stories with Kirk, Spock, and McCoy for close to forty years… would that have made it better? Look at the problems facing Star Wars, a franchise that has failed to break away from its original stories and characters. That’s come to feel like an almost fatal flaw in the Star Wars franchise as it doubles down on prequels, mid-quels, and spin-offs from spin-offs. There’s a real danger that too many Star Trek projects focusing on the same handful of characters could stagnate the franchise and leave it with nowhere to go narratively.

Promotional photo for Star Trek IV: The Voyage Home (1986) featuring Leonard Nimoy, William Shatner, and DeForest Kelley.
Would Star Trek be better today if it had spent decades with the same handful of original characters?

One of the things I was most excited to see, going all the way back to the announcement of Star Trek: Picard, was how the franchise could potentially pass the torch to new characters. Unfortunately several of the new characters created for the show were dropped or written out, but Season 3 ended with at least one – Jack Crusher – still in play and still potentially able to accomplish that goal. And with a fan-led campaign to make Star Trek: Legacy happen as a sequel to Picard, there’s still a glimmer of hope, perhaps, that it could happen.

Where would a Picard movie fit in with Legacy? If it came down to a straight-up choice between one or the other, which would fans prefer? And which would be better for the franchise overall? I feel that Legacy, as envisioned by the fan campaign at least, has the upper hand here.

Still frame from Star Trek: Picard showing the Enterprise-G orbiting a star.
The Enterprise-G.

A Picard movie would surely be the end of the line for the character. I mean, it would have to be… right? And it could be a successful project both critically and commercially, bringing in either cash at the box office or new subscribers to Paramount+. But it would also be an ending, not so much a launchpad for new stories – which is what I’d argue Star Trek needs right now. Picard set the stage for more Star Trek in the early 25th Century, and if handled well, I really do feel that there’s the potential for the franchise to take advantage of that. It hasn’t happened yet, though… and the window of opportunity may be closing.

As a concept, TV movies and one-off stories are a great idea for Star Trek. If this new script couldn’t sustain a ten-episode season of TV, making a one-off film is a great idea. In fact, it’s something that the Star Trek franchise should try to do more of in future. Section 31 doesn’t need to be the only one! As I said when I made the case for more of the Short Treks mini-episodes, there are dozens of ideas for individual characters and story threads that couldn’t be a full film, series, or even episode that can work in that format. I don’t think anyone would really be opposed to that idea – and it extends to TV movies and films, too.

Title card for the Star Trek spin-off series "Short Treks."
I’m in favour of Star Trek doing more one-off stories, short stories, and TV movies.

But any time we have that particular conversation, we pretty quickly run into the elephant in the room: Paramount Global’s finances! The corporation isn’t in a good position, and Star Trek’s future budgets are very much in question. We’ve already seen Discovery cancelled and Prodigy sold to Netflix, and there’s been little by way of news about Starfleet Academy since it was announced almost a year ago. Paramount doesn’t have the money to throw at every project that gets pitched, so it comes down to a question of priorities. If any Star Trek projects will get the go-ahead in future, which ones should be at the top of that list? Is a Picard movie even in the top ten?

It wasn’t clear to me from Sir Patrick Stewart’s interview how far along this project might be – nor who was responsible for it. It could be an official project with Paramount’s backing that’s about to enter pre-production… or it could be something a lot more speculative. There’s no guarantee that it would get made even if it were something paid for by Paramount, as we saw in 2022 with the whole “Kelvin sequel” debacle. So maybe we’re getting ahead of ourselves by thinking too long and hard about a project that may never get out of the starting gate!

Promotional photo for Star Trek Into Darkness (2012) featuring the main cast.
A Kelvin timeline sequel has failed to enter full production multiple times in the last few years.

Although this isn’t always a comfortable topic, there are also legitimate concerns/questions over Sir Patrick Stewart’s age and thus his ability to take on a challenging new script. One of the weaknesses of Picard, particularly in its second and third seasons, was that its narrative was not well-suited to an older person. Stories threw the character into situations like discovering he had a son, and some of the storylines would’ve been a better fit for a forty-year-old… not someone who’s past eighty.

One of the disappointing things for me about Picard was the wasted potential to tell a story that was well-suited to an older person. Instead of Picard discovering that he had a son and trying to relate to someone who was (allegedly) in his early twenties, a story could’ve been told that was better-suited to an older character in his twilight years. Would a new Picard film go down that road? If so, maybe it would be worth seeing. But if it’s another script that tries to make the character out to be younger than he clearly is… there’ll be that disconnect once again.

Still frame from "Remembrance," the first episode of Star Trek: Picard, featuring Sir Patrick Stewart as Jean-Luc Picard.
Jean-Luc Picard.

If decisions about Star Trek’s future were in my hands, here’s what I’d say. I would absolutely consider any script that featured Captain Picard – or anyone else from The Next Generation. There’s definitely scope to do more with those characters somehow. But at the same time, I’d be careful to balance a one-off project like this with Star Trek’s future prospects. And if it came down to the wire, with tight budgets only allowing for one or two to go ahead… I’m not convinced at this stage that a Picard movie is the one I’d choose to give the green light to. That’s not a definite “no,” because a strong script could absolutely win me over. But it’s not a firm “yes,” either.

I daresay that the details of this script will be kept under wraps for a while. If it doesn’t proceed, we may never know what it could’ve entailed and how good or bad it might’ve been! But if we get any more news – or an official announcement – I’ll be sure to take another look.

Behind-the-scenes photo from Star Trek: Picard Season 3 showing Sir Patrick Stewart, Jonathan Frakes, and others.
Sir Patrick Stewart and Jonathan Frakes during the production of Star Trek: Picard Season 3.

So I hope this has been interesting… and not a horribly incoherent ramble!

I was surprised to hear Sir Patrick Stewart talking so openly about a potential new Star Trek project – not least because Picard Season 3 had been billed as the character’s swansong. Despite its issues, I generally feel that the conclusion of Picard’s final season left the characters in a better place than Nemesis had done in 2002, and in a way I’m content to leave them there, enjoying a break after their last adventure.

But a part of me will always want to see more Captain Picard – and with this script potentially offering the last chance for the character to come back, maybe I’d feel a sense of regret if it didn’t go ahead. If we’d never come to know about it and it didn’t happen, well… no harm done, right? But knowing it’s out there and being worked on in some capacity, and that Sir Patrick Stewart himself seems to be on board with it at least in theory… I can’t lie: a big part of me would love to see it come to fruition.


You can find Sir Patrick Stewart’s interview with Josh Horowitz, in which he discusses a potential Picard movie, on YouTube. Click or tap here to watch the video. The relevant section begins around the 33-minute mark.


Star Trek: Picard Seasons 1-3 are available to stream now on Paramount+. The Star Trek franchise, including Picard and all other properties 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.